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--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
the rhythm
Non classifié
6 044
Piano & claviers
Piano grosses notes
3 297
Piano seul
3 020
Orgue
1 690
Piano Facile
1 179
Piano, Voix
621
Instruments en Do
356
Piano, Voix et Guitare
295
Accompagnement Piano
126
1 Piano, 4 mains
122
Piano (partie séparée)
84
Clavier
61
Piano Trio: piano, violon, violoncelle
44
2 Pianos, 4 mains
33
Piano Quatuor: piano, violon, alto, violoncelle
25
Accordéon
10
Piano Quintette: piano, 2 violons, alto, violoncelle
8
1 Piano, 6 mains
6
Clavecin
5
Orgue, Trompette (duo)
4
Orgue, Piano (duo)
3
Piano Quatuor: piano, 2 violons, violoncelle
2
Tous Les Instruments
1
+ 17 instrumentations
Retracter
Guitares
Guitare notes et tablatures
636
Guitare
462
Guitare (partie séparée)
132
Basse electrique
64
Ligne De Mélodie, (Paroles) et Accords
59
Dulcimer
46
Ukulele
33
2 Guitares (duo)
23
4 Guitares (Quatuor)
19
Paroles et Accords
17
Mandoline
16
Piano, Guitare (duo)
14
Banjo
11
Ensemble de guitares
9
3 Guitares (trio)
7
2 Dulcimers (duo)
3
2 Mandolines (duo)
2
Basse électrique (partie séparée)
1
Guitare, Quatuor à cordes
1
Mandoline, Guitare (duo)
1
Orchestre à Plectres
1
2 Ukuleles
1
Guitare, Violon, Violoncelle (trio)
1
Ukulele Baryton
1
Dobro
1
+ 20 instrumentations
Retracter
Voix
Chorale SATB
1 633
Chorale 3 parties
558
Chorale Unison
294
Chorale 2 parties
286
Pack Instrumental pour Chorale
234
Chorale TTBB
221
Chorale SSAA
177
Voix Tenor, Piano
34
Voix Alto, Piano
31
Voix Soprano, Piano
27
Voix duo, Piano
17
Voix haute
13
Chorale
13
Voix seule
12
Voix duo
11
Chorale SSATB
8
Chorale SSAATTBB
5
Voix moyenne, Piano
5
Chorale SSAB, Piano
4
Voix Tenor
4
Voix Baryton, Piano
3
Chorale SSAB a cappella
3
Chorale SSATTB
2
Voix Soprano
2
Chorale SSAATB
1
Male Voice
1
Voix basse, Piano
1
+ 22 instrumentations
Retracter
Vents
2 Saxophones (duo)
585
Saxophone (partie séparée)
366
Quatuor de Saxophones: 4 saxophones
310
2 Flûtes traversières (duo)
298
2 Clarinettes (duo)
289
Flûte à bec Soprano
276
Ocarina
263
Saxophone, Clarinette (duo)
257
Flûte traversière et Piano
227
Clarinette, Violon (duo)
202
Flûte à bec Alto
187
Flûte, Hautbois, Clarinette, Basson
180
Flûte traversière
177
Clarinette, Trompette (duo)
172
Quatuor de Clarinettes: 4 clarinettes
167
Clarinette et Piano
166
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
166
Clarinette
155
Saxophone Alto
150
Hautbois, Piano (duo)
144
Saxophone Alto et Piano
136
Flûte, Clarinette (duo)
127
Quatuor de Flûtes : 4 flûtes
116
2 Hautbois (duo)
113
Hautbois (partie séparée)
108
Saxophone Tenor
108
Hautbois, Clarinette (duo)
107
Clarinette et Alto
102
Hautbois, Basson (duo)
101
Flûte, Violon
101
Flûte, Saxophone (duo)
94
Saxophone Tenor et Piano
93
Flûte, Alto (duo)
85
Quintette de Saxophone: 5 saxophones
81
Flûte, Trompette (duo)
78
Hautbois, Flûte
77
3 Saxophones (trio)
67
Clarinette (partie séparée)
65
Flute (partie séparée)
64
Saxophone Soprano et Piano
59
2 Flûte à bec (duo)
58
Trio de Flûtes: 3 flûtes
47
3 Clarinettes (trio)
45
Quintette de Clarinettes: 5 clarinettes
42
Ensemble de saxophones
41
Ensemble de Flûtes
41
Ensemble de Clarinettes
41
Saxophone Baryton, Piano
37
Flûte à bec Alto, Piano
32
Clarinette Basse, Piano
31
Flûte, Hautbois (duo)
31
Hautbois
24
Flûte, Violon, Piano
22
Flûte et Guitare
21
Hautbois, violon (duo)
20
Cor anglais, Piano
19
Quintette de Flûte : 5 flûtes
17
Clarinette, Basson (duo)
15
Hautbois, Clarinette, Basson (trio d'anches)
14
Clarinette, Trombone (duo)
14
Clarinette, Violoncelle (duo)
13
Flûte, Clarinette et Basson
12
Saxophone
12
Saxophone Soprano
11
Flûte, Hautbois, Basson
11
Quatuor de Flûtes à bec
11
Cor Anglais
10
3 Flûtes à bec (trio)
10
Flûte, Violoncelle
9
Flûte, Hautbois, Clarinette (trio)
8
Flûte, Hautbois, Piano (trio)
8
Flûte à Bec
8
Hautbois, Violoncelle
8
Flûte, Clarinette, Piano (trio)
7
2 Flûtes traversières, Piano
6
Clarinette Basse
5
Clarinette, Harpe (duo)
5
Saxophone Baryton
5
Hautbois et alto (duo)
5
Clarinette, Guitare (duo)
5
Flûte traversière, Orgue (duo)
4
Flute, harpe et violon
4
5 Flûtes à bec
4
Hautbois, Harpe
4
Ensemble De Flûte à bec
4
Flûte, Basson et Piano
4
Piccolo
3
Flûte à bec Soprano, Piano
3
Clarinette, Violoncelle, Piano (trio)
3
2 Saxophones, Piano
3
Flûte, Alto et Piano
3
Flûte, Violon et Violoncelle
3
Clarinette, trompette et piano
2
Piccolo, Piano
2
Flûte, Violon, Violoncelle et Piano
2
Harmonica
2
3 Hautbois
2
Flûte, trombone et piano
2
Hautbois, Violon, Piano
2
Flûte, Violoncelle, Piano (trio)
2
2 Clarinettes, Piano
2
Flûte, Harpe et Violoncelle
2
Flûte, Clarinette, Cor, Basson (Quartet)
2
2 Clarinettes, Basson
2
Ensemble à vent
2
4 Hautbois
1
Harmonica, Piano
1
Flûte, Hautbois, Violon
1
Saxophone et Harpe
1
Saxophone et Orgue
1
2 Flûtes, 2 Clarinettes (Quatuor)
1
Hautbois, trombone (duo)
1
Flûte irlandaise
1
Clarinette, Contrebasse (duo)
1
2 Cors Anglais Et Pianoforte
1
Ensemble de Hautbois
1
Saxophone et Guitare
1
Flûte, Trombone (duo)
1
Clarinette, Alto et Piano (trio)
1
Clarinette, Tuba
1
Instruments en Mib
1
Saxophone et Piano
1
Flûte à bec Tenor
1
Flûte, alto et harpe
1
Hautbois, Trompette (duo)
1
+ 120 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
303
Trompette (partie séparée)
243
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
195
Trompette, Saxophone (duo)
186
Trompette
150
2 Trombones (duo)
135
2 Trompettes (duo)
133
Trombone et Piano
129
Trombone
122
Trompette, Piano
120
Quatuor de Cuivres : 2 trompettes, trombone, tuba
114
Trompette, Trombone (duo)
109
Cor
93
Cor et Piano
86
Cor (partie séparée)
68
Tuba (partie séparée)
55
Tuba et Piano
50
Quatuor de Cuivres: 2 trompettes, Cor, trombone
45
Tuba
39
Quatuor de Cuivres
38
Euphonium, Piano (duo)
35
Quatuor de cuivres: 4 trombones
25
Cor anglais, Piano
19
Ensemble de Trombones
16
Ensemble de Trompettes
14
Quatuor de cuivres: 4 cors
12
2 Cors (duo)
12
2 Euphoniums (duo)
11
2 Tubas (duo)
11
Cor Anglais
10
Quatuor de cuivres: 2 trompettes, 2 trombones
10
Trombone, Orgue
7
3 Trompettes (trio)
7
Euphonium, Tuba (duo)
6
3 Trombones (trio)
6
Quatuor de cuivres: 4 trompettes
6
Euphonium
5
Ensemble de Cors
5
4 Tubas
4
Trompette, Tuba (duo)
4
Trombone, Cor (duo)
3
Trompette et Guitare
3
Cornet A Pistons
3
Trio de Cuivres
3
Instruments en Sib
3
Cor et Harpe
2
Trombone basse
2
Trompette, Cor (duo)
2
2 Euphoniums et 2 Tubas
2
Trompette, Harpe
2
Cor, Tuba (duo)
2
3 Euphoniums
1
Trombone basse et Piano
1
Trompette, Violoncelle et Piano
1
Tuba et Orgue
1
Trombone et orchestre
1
Clarinette, Cor (duo)
1
Trompette, Basson (duo)
1
Cor, Violoncelle (duo)
1
Bass Clef Instruments
1
Trombone, Tuba (duo)
1
2 Cors Anglais Et Pianoforte
1
+ 57 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
765
Violon et Piano
389
Violon
304
Violon, Violoncelle (duo)
266
2 Violons (duo)
181
Violoncelle
178
Violoncelle, Piano
167
Contrebasse (partie séparée)
151
Harpe
149
2 Violoncelles (duo)
149
Alto, Piano
146
2 Altos (duo)
143
Violon, Alto (duo)
142
Violon (partie séparée)
124
Trio à Cordes: violon, alto, violoncelle
122
Alto seul
101
Trio à Cordes: 2 violons, violoncelle
89
Alto (partie séparée)
59
Contrebasse, Piano (duo)
59
Quintette à cordes: 2 violons, alto, violoncelle, basse
42
Contre Basse
39
Trio à cordes: 3 violins
34
Violoncelle (partie séparée)
25
Alto, Violoncelle (duo)
24
4 Violoncelles
22
Violon, Guitare (duo)
19
Quatuor à cordes: 4 violons
15
2 Harpes (duo)
15
Violoncelle, Contrebasse (duo)
12
Trio à Cordes: 2 violons, alto
12
Trio à Cordes: 3 violoncelles
12
Harpe, Flûte (duo)
9
2 Contrebasses (duo)
9
Quatuor à cordes : 4 altos
8
Violon, Basson (duo)
8
Trio à cordes: 3 altos
7
Piano Trio: Violon, Alto, Piano
7
Harpe, Violon (duo)
7
Harpe, Violoncelle (duo)
5
Autoharp
4
Alto et Harpe
4
Alto, Guitare (duo)
3
3 Harpes
3
Harpe, Violon, Violoncelle
3
Ensemble de Violons
3
Ensemble de Violoncelles
3
4 Contrebasses
2
5 Harpes
2
Alto et Basson
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Harpe et Piano
1
2 Violons, Piano
1
Alto et orchestre
1
Flûte, Contrebasse (duo)
1
Violoncelle, Orgue
1
Violoncelle , Guitare (duo)
1
Violon, Trompette et Piano
1
Harpe, Voix
1
Violon, Clarinette, Piano (trio)
1
Violon, Orgue
1
4 Harpes
1
Harpe et mandoline
1
Harpe, Trombone (duo)
1
+ 58 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
3 219
Ensemble Jazz
796
Orchestre à Cordes
726
Orchestre
594
Cloches
363
Jazz combo
227
Ensemble de cuivres
177
Fanfare
153
Batterie
136
Orchestre de chambre
91
Ensemble de Percussions
89
Batterie (partie séparée)
78
Percussion (partie séparée)
36
Marimba
23
Xylophone, Piano
15
Percussion
12
2 Xylophones
7
Xylophone
5
Piano et Orchestre
5
Ensemble d'École
5
Vibraphone
4
Bongos
3
Cajon
2
Big band
2
Bodhran
2
Conga
2
Caisse Claire
2
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Vibraphone et Marimba
2
2 Marimbas
1
Instrumentation Flexible
1
3 Percussions
1
Timbales (partie séparée)
1
Marimba ou Xylophone et Piano
1
2 Caisses Claires (duo)
1
Marimba, Piano (duo)
1
3 Marimbas
1
+ 32 instrumentations
Retracter
Autres
Formation musicale - Solfège
6
Théorie de la musique
2
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
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--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
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Partitions à imprimer
43 522 partitions trouvées
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9976
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
#
Methodes
#
Nathan Petitpas - Dots and Bea
#
I encourage you to use both
#
Pitch and Rhythm - Treble Clef
#
Dots and Beams
#
SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
#
Methodes
#
Nathan Petitpas - Dots and Bea
#
I encourage you to use both
#
Pitch and Rhythm - Bass Clef,
#
Dots and Beams
#
SheetMusicPlus
Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Co...
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Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269061. Published by Dots and Beams (A0.931833). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second e.
$10.00
Time for the Future
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Théorie de la musique
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INTERMÉDIAIRE
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Bret Willmott
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Time for the Future
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Theory and reference - guitar - Intermediate - Digital Download Polyrhythm in Harmony. Composed by Bret Willmott. Guitar: Classical and Lute. E- book....
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Theory and reference - guitar - Intermediate - Digital Download Polyrhythm in Harmony. Composed by Bret Willmott. Guitar: Classical and Lute. E- book. Mel Bay Publications - Digital Sheet Music #97884EB. Published by Mel Bay Publications - Digital Sheet Music
Many polyrhythms and polymeters (simultaneous combinations of more than one rhythmic pattern) exist in today's music, with some being so common they could be referred to as rhythm licks. This book presents a unique and comprehensive approach to polymetric applications of various rhythms over common chord progressions and song forms in 3/4 and 4/4, written primarily for instruments with chordal capabilities. Non-chordal instrumentalists interested in rhythmic development and contemporary phrasing may also benefit. Polymetric rhythms will force a variety of harmonic anticipations and delays which can have a profound and beneficial effect on harmonic, melodic, and improvisational phrasing. In addition, the focused attention and expanded awareness needed to master these exercises can also help in your sensitivity and response to the surrounding environment and your interactions with other musicians and audience.
$27.99
We Must Learn to Walk Together
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Piano, Voix et Guitare
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FACILE
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Musique Sacrée
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Lisa Waites
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Lisa Waites
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We Must Learn to Walk Together
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Servant Song Music and Ministry
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worshi...
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Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Chorale SATB
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INTERMÉDIAIRE
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 2 - Eighths
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Dots and Beams
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #47...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #4776187. Published by Dots and Beams (A0.931836). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 1 - Eighths
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
Rhapsody to the Rising sun ä¸åœ‹æš¢æƒ³æ›²ç¬¬å››è™Ÿã€Šå¸ƒè¾²ä¹‹æŒã€‹(parts)
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An-lun Huang
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Rhapsody to the Rising sun ä
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DoReMi Edition
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SheetMusicPlus
Large Ensemble - Level 5 - SKU: A0.1044258 Composed by An-lun Huang. 20th Century,Folk,Multicultural,Traditional,World. Score and parts. 145 pages. DoRe...
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Large Ensemble - Level 5 - SKU: A0.1044258 Composed by An-lun Huang. 20th Century,Folk,Multicultural,Traditional,World. Score and parts. 145 pages. DoReMi Edition #648168. Published by DoReMi Edition (A0.1044258). To the New Century Rhapsody to the Rising sun ä¸åœ‹æš¢æƒ³æ›²ç¬¬å››è™Ÿã€Šå¸ƒè¾²ä¹‹æŒã€‹ An Ensemble for Flute, Clarinet, Strings, Piano,Erhu, Yangqin, Ruan and Zheng in Bunungese Style by An-lun Huang, Op.59[April, 2000] Commissioned by the MusicCanadaMusique2000 Dedicated to James Campbell, “Rhapsody to the Rising Sun†is a commission of the MusicCanadaMusique 2000. The five Chinese traditional instruments being used for this ensemble, are: Erhu 二胡 - “Chinese Violin†Yangqin æšç´ - “Chinese Ducimer†Ruan ä¸é˜® - “Chinese Lute†2 Zhengs å¤ç® - “Chinese Zither†The composition of this piece is based on the original musical materials of Bunung布農. The Bunungese is a minority group of natives who live on the island of Formosaå°ç£. Ethnically speaking, they originated from the Micronesian race rather than from the “Hanâ€, the Chinese majority who accounts for ninety-seven percent of the population. The pentatonic mode is often found in Chinese folk tunes, in which a triad chord is seldom found. However, the Bunungese actually “enjoy†the sonority (the pitch and the tone) of the major triad. The modern civilization has yet to adapt to their wild and natural style. Usually, their folk song would be a chorale led by a leading singer, followed by the crowd. In the morning, facing the rising sun, the people with their colourful clothes, gather in a circle and dance to the rhythmic music. Located in far east Asia, the Bunungese may well be the first people to praise the rising sun to celebrate the new century with songs and dances. This is the reason why the composer chose to complete the commission in the Bunugese style. æ¤å½•éŸ³ä¸º2000å¹´é»„å®‰ä¼¦æŒ‡æŒ¥åŠ æ‹¿å¤§å®¤å†…ä¹å›¢åœ¨å¸•é‡Œæ¡‘音ä¹èŠ‚首演的实况.é’¢ç´æ˜¯æ¬§é˜³ç‘žä¸½,æ°‘ä¹éƒ¨ä»½ç”±å¤šä¼¦å¤šçš„敦煌室ä¹å›¢æ‹…ä»».
$29.99
Rhapsody to the Rising sun ä¸åœ‹æš¢æƒ³æ›²ç¬¬å››è™Ÿã€Šå¸ƒè¾²ä¹‹æŒã€‹ - Score Only
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An-lun Huang
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Rhapsody to the Rising sun ä
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DoReMi Edition
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SheetMusicPlus
Large Ensemble - Level 5 - SKU: A0.1044257 Composed by An-lun Huang. 20th Century,Folk,Multicultural,Traditional,World. Score and parts. 64 pages. DoReM...
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Large Ensemble - Level 5 - SKU: A0.1044257 Composed by An-lun Huang. 20th Century,Folk,Multicultural,Traditional,World. Score and parts. 64 pages. DoReMi Edition #648167. Published by DoReMi Edition (A0.1044257). To the New Century Rhapsody to the Rising sun ä¸åœ‹æš¢æƒ³æ›²ç¬¬å››è™Ÿã€Šå¸ƒè¾²ä¹‹æŒã€‹ An Ensemble for Flute, Clarinet, Strings, Piano,Erhu, Yangqin, Ruan and Zheng in Bunungese Style by An-lun Huang, Op.59[April, 2000] Commissioned by the MusicCanadaMusique2000 Dedicated to James Campbell, “Rhapsody to the Rising Sun†is a commission of the MusicCanadaMusique 2000. The five Chinese traditional instruments being used for this ensemble, are: Erhu 二胡 - “Chinese Violin†Yangqin æšç´ - “Chinese Ducimer†Ruan ä¸é˜® - “Chinese Lute†2 Zhengs å¤ç® - “Chinese Zither†The composition of this piece is based on the original musical materials of Bunung布農. The Bunungese is a minority group of natives who live on the island of Formosaå°ç£. Ethnically speaking, they originated from the Micronesian race rather than from the “Hanâ€, the Chinese majority who accounts for ninety-seven percent of the population. The pentatonic mode is often found in Chinese folk tunes, in which a triad chord is seldom found. However, the Bunungese actually “enjoy†the sonority (the pitch and the tone) of the major triad. The modern civilization has yet to adapt to their wild and natural style. Usually, their folk song would be a chorale led by a leading singer, followed by the crowd. In the morning, facing the rising sun, the people with their colourful clothes, gather in a circle and dance to the rhythmic music. Located in far east Asia, the Bunungese may well be the first people to praise the rising sun to celebrate the new century with songs and dances. This is the reason why the composer chose to complete the commission in the Bunugese style. æ¤å½•éŸ³ä¸º2000å¹´é»„å®‰ä¼¦æŒ‡æŒ¥åŠ æ‹¿å¤§å®¤å†…ä¹å›¢åœ¨å¸•é‡Œæ¡‘音ä¹èŠ‚首演的实况.é’¢ç´æ˜¯æ¬§é˜³ç‘žä¸½,æ°‘ä¹éƒ¨ä»½ç”±å¤šä¼¦å¤šçš„敦煌室ä¹å›¢æ‹…ä»».
$19.99
"The Dog Had..." Variations
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Daniel Burwasser
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"The Dog Had..." Var
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Head and Stem
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1290458 Composed by Daniel Burwasser. 21st Century,Chamber,Contemporary,Romantic Pe...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1290458 Composed by Daniel Burwasser. 21st Century,Chamber,Contemporary,Romantic Period. 35 pages. Head and Stem #881172. Published by Head and Stem (A0.1290458). BACKSTORY ON “The Dog Had…†Variations The origin of “The Dog Had…†Variations†stems from a frantic voicemail received from the composer’s mother-in-law many years ago while on a visit exclaiming that our dog at the time, Pepper, a chocolate-brown and white springer spaniel, “HAD†an accident of explosive proportions on their basement rug and that we needed to “GET HOME†and deal with it immediately. At first the family was taken aback by the phone message, but ultimately it became a source of hilarity and shortly afterward, the composer’s wife created a rhyme from the message and a tune immediately sprung from that. This tune simply became something our family sung together periodically over many year’s time for amusement until now when the composer came up with the idea to set it to variations for string quartet. In this work, the tune is first heard in simple fashion in its entirety in the viola. Fragments of the tune follow in various guises. For example, the rhythm of the words “GET HOME†as well as “I’VE HAD IT†are prominent thematic ideas used in the piece. There are also a couple of moments where the music sounds weak and demented, but also places where it sounds like a domestic quarrel and the theme is further broken down into fragments. For more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
$20.00
Rhythm: Dotted Notes & Triplets educational pack - Perform Compose Understand PCU Series
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Methodes
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Austin Ralphson
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Rhythm: Dotted Notes & Tri
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Austin Ralphson
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SheetMusicPlus
Large Ensemble - Level 3 - SKU: A0.569835 Composed by Austin Ralphson. Instructional. Score and parts. 58 pages. Austin Ralphson #4725511. Published by ...
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Large Ensemble - Level 3 - SKU: A0.569835 Composed by Austin Ralphson. Instructional. Score and parts. 58 pages. Austin Ralphson #4725511. Published by Austin Ralphson (A0.569835). Rhythm: Dotted Notes & Triplets - Perform, Compose, Understand Series. This pack comprises a piece called The Long And Short Of It, worksheets and questions which relate to the piece. It is all about understanding these two rhythmic devices, although it asks many other general musical questions as well.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, BTEC, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: RHYTHM backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top.
$5.99
The Fundamentals of Music Theory - Booklet 1
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Jose Valladares
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Jose Valladares
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The Fundamentals of Music Theo
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Circlesquare Music
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SheetMusicPlus
Level 1 - SKU: A0.1369230 By Jose Valladares. By Jose Valladares. Arranged by Jose Valladares. 19th Century. Educational Method. 25 pages. Circlesquare ...
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Level 1 - SKU: A0.1369230 By Jose Valladares. By Jose Valladares. Arranged by Jose Valladares. 19th Century. Educational Method. 25 pages. Circlesquare Music #953582. Published by Circlesquare Music (A0.1369230). The Fundamentals of Music Theory: Booklet 1 by Jose Valladares serves as an introductory guide into the captivating realm of music theory. Targeted at both novices and enthusiastic learners, this booklet is designed as the first step in a transformative journey to understand the language of music. Likening music theory to the grammar of music, it aims to provide readers with the foundational tools to create, interpret, and communicate through music.The booklet begins with an exploration of the definition, significance, and historical evolution of music theory. It then delves into the core components that constitute music's framework:The Music Staff and Notes: Readers are introduced to the music staff, the bedrock for note placement, and learn how each line and space corresponds to distinct musical pitches. This section emphasizes the assembly of notes to create soul-stirring melodies.Clefs and Note Names: This part focuses on various clefs including treble, bass, alto, and tenor, which are crucial for reading and interpreting the music staff, and serve as navigational landmarks in the sea of notes.Rhythmic Notation: It addresses the essence of rhythm in music, covering note values, rests, dotted notes, and ties, enabling readers to grasp the rhythmic heartbeat of any composition.Time Signatures: The booklet explores time signatures, detailing how they organize a music piece and define its rhythmic character, from the steady beats of simple time to the flowing grace of compound time.Basic Scales and Key Signatures: It uncovers the foundational elements of melodies and harmonies, discussing major and minor scales, their emotional influences, and the Circle of Fifths, which serves as a guide through the relationships among different keys.By the end of The Fundamentals of Music Theory: Booklet 1, readers are expected to have a comprehensive understanding of music theory's basics. They will be well-equipped to decipher music's language, comprehend its notations, and fully appreciate the intricate craftsmanship involved in every musical composition. The booklet promises a journey of musical discovery, unwinding the intricacies of music theory one note and rhythm at a time.
$10.99
Ijexá Rhythm (Brazilian music on percussion)
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Orchestre d'harmonie
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FACILE
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Marcelo Borba
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Marcelo Borba
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Ijexá Rhythm
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Marcelo Borba
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.513413 By Marcelo Borba. By Marcelo Barros de Borba. Arranged by Marcelo Borba. Country,Latin,Patriotic,Standards,Tradi...
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Concert Band - Level 2 - SKU: A0.513413 By Marcelo Borba. By Marcelo Barros de Borba. Arranged by Marcelo Borba. Country,Latin,Patriotic,Standards,Traditional. Score and Parts. 2 pages. Marcelo Borba #124181. Published by Marcelo Borba (A0.513413). The preciousness of Brazilian music can be appreciated in this arrangement on the Ijexá rhythm. A small 4-bar Looping for percussion practice. In this arrangement the following percussion instruments are used: Agogô, Afoxé, Atabaque and Alfaia. You can listen to the sound result on the audio available for free. Ijexá is available in full version and with its individual parts.The Ijexá rhythm is a musical form originating in Afro-Brazilian culture, specifically within the traditions of the Jeje people from the former Kingdom of Dahomey (now Benin). Also known as Jexá, Jeje, or Ijeji, Ijexá is often associated with Candomblé, an Afro-Brazilian religion.The history of the Ijexá rhythm dates back to the period of slavery in Brazil when Africans of Jeje ethnicity were brought to the country as slaves. They brought with them their culture, religious traditions, and, of course, their musical expressions. Ijexá is one of the musical manifestations of these people, which developed primarily in the Northeast and Southeast regions of Brazil.The Ijexá rhythm is characterized by a steady beat and a specific rhythmic pattern. It is played in binary meter, with emphasis on the second beat. Instruments used in the execution of Ijexá include atabaques (drums), agogô, xequerê, among others. The lyrics of the songs often address themes related to religion, ancestry, and Afro-Brazilian culture.Over time, Ijexá transcended its original religious context and became incorporated into other Brazilian musical genres, such as popular music, MPB (Música Popular Brasileira), and samba. Its influence can be heard in various compositions, including those by renowned Brazilian artists.The Ijexá rhythm carries a strong cultural and symbolic significance, representing the resistance and preservation of African traditions in Brazil. It is a musical expression that remains alive and present in Brazilian culture, contributing to the diversity and richness of the country's musical heritage.More: https://musicaead.com.br/ijexa-historia-e-cultura-popular/
$1.99
Footsteps In The Dark "Part 1&2"
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Chris Jasper, Ernest Isley, Ma
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Hollywood Charts
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Footsteps In The Dark "Pa
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Hollywood Charts
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SheetMusicPlus
Rhythm Section Voice - Level 2 - SKU: A0.1409093 Composed by Chris Jasper, Ernest Isley, Marvin Isley, O'Kelly Isley, Ronald Isley, and Rudolph Isley. A...
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Rhythm Section Voice - Level 2 - SKU: A0.1409093 Composed by Chris Jasper, Ernest Isley, Marvin Isley, O'Kelly Isley, Ronald Isley, and Rudolph Isley. Arranged by Hollywood Charts. Funk,Hip-Hop,Pop,R & B,Soul. 6 pages. Hollywood Charts #991698. Published by Hollywood Charts (A0.1409093). This vocal arrangement is scored for rhythm section and includes a single 'Master Rhythm' part with the important figures for synth, bass, and drums. This ensures your entire band will be on the same page, literally!Dive into the heart of rhythm and soul with our rhythm section transcription of the Isley Brothers' timeless classic, 'Footsteps in the Dark (Parts 1 & 2),' now available for music enthusiasts and performers. This comprehensive sheet music edition captures the essence of the Isley Brothers' iconic track, offering a unique opportunity to explore the intricate layers that make up its unforgettable rhythm section.Expertly transcribed, this sheet music offers an authentic representation of the original song's rhythm parts, including the important piano, guitar, bass, and drum figures. It's perfect for bands, ensembles, or individual musicians aiming to replicate or reinterpret the classic grooves and nuanced rhythms that define this masterpiece.'Footsteps in the Dark,' renowned for its smooth blend of soul, funk, and R&B elements, provides a rich tapestry of sound that has influenced generations of musicians. The master rhythm transcription brings to life the subtle interplay between instruments, offering a detailed guide through the song's captivating beats and harmonies.Whether you're a seasoned professional or an aspiring musician, this transcription provides both the challenge and inspiration to deepen your understanding and appreciation of one of the greatest rhythm sections in music history. The sheet music is arranged in an easy-to-read format, ensuring accessibility for players of varying skill levels.Embrace the opportunity to immerse yourself in the rhythmic genius of the Isley Brothers with this 'Footsteps in the Dark (Parts 1 & 2)' transcription. Perfect for practice, performance, or simply enjoying the art of music, this piece is a must-have for your collection. Add it to your repertoire today and step into the soul-stirring world of one of the most influential bands in the history of R&B and soul music.
$24.99
Thema aus der 6. Sinfonie
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Flûte à bec Alto
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INTERMÉDIAIRE
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Classique
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Ludwig van Beethoven
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songbooks
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Thema aus der 6. Sinfonie
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songbooks.info
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SheetMusicPlus
Alto Recorder,Recorder Solo - Level 3 - SKU: A0.1362232 Composed by Ludwig van Beethoven. Arranged by songbooks.info. Chamber,Classical,Renaissance. Ind...
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Alto Recorder,Recorder Solo - Level 3 - SKU: A0.1362232 Composed by Ludwig van Beethoven. Arranged by songbooks.info. Chamber,Classical,Renaissance. Individual part. 3 pages. Songbooks.info #946709. Published by songbooks.info (A0.1362232). Well-known and popular themes from Classical Music - notated for the Alto Recorder. The classic musical notation indicate the rhythm of the tones, and a fingering image shows how the appropriate tone is played. A simple explanation of the fingering images for the Recorder is included in the appendix. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Altblockflöte. Die klassische Notenschrift gibt die Rhythmik der Töne an, wie der passende Ton gespielt wird zeigt ein Griffbild. Eine einfache Erklärung der Griffbilder für die Blockflöte ist im Anhang. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
Variation über ein Thema von Haydn
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Flûte à bec Alto
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INTERMÉDIAIRE
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Classique
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Johannes Brahms
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songbooks
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Variation über ein Thema
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songbooks.info
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SheetMusicPlus
Alto Recorder,Recorder Solo - Level 3 - SKU: A0.1362238 Composed by Johannes Brahms. Arranged by songbooks.info. Chamber,Classical,Renaissance. Individu...
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Alto Recorder,Recorder Solo - Level 3 - SKU: A0.1362238 Composed by Johannes Brahms. Arranged by songbooks.info. Chamber,Classical,Renaissance. Individual part. 4 pages. Songbooks.info #946715. Published by songbooks.info (A0.1362238). Well-known and popular themes from Classical Music - notated for the Alto Recorder. The classic musical notation indicate the rhythm of the tones, and a fingering image shows how the appropriate tone is played. A simple explanation of the fingering images for the Recorder is included in the appendix. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Altblockflöte. Die klassische Notenschrift gibt die Rhythmik der Töne an, wie der passende Ton gespielt wird zeigt ein Griffbild. Eine einfache Erklärung der Griffbilder für die Blockflöte ist im Anhang. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
Thema aus der 1. Sinfonie
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Flûte à bec Alto
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INTERMÉDIAIRE
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Classique
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Johannes Brahms
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songbooks
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Thema aus der 1. Sinfonie
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songbooks.info
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SheetMusicPlus
Alto Recorder,Recorder Solo - Level 3 - SKU: A0.1362230 Composed by Johannes Brahms. Arranged by songbooks.info. Chamber,Classical,Renaissance. Individu...
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Alto Recorder,Recorder Solo - Level 3 - SKU: A0.1362230 Composed by Johannes Brahms. Arranged by songbooks.info. Chamber,Classical,Renaissance. Individual part. 3 pages. Songbooks.info #946707. Published by songbooks.info (A0.1362230). Well-known and popular themes from Classical Music - notated for the Alto Recorder. The classic musical notation indicate the rhythm of the tones, and a fingering image shows how the appropriate tone is played. A simple explanation of the fingering images for the Recorder is included in the appendix. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Altblockflöte. Die klassische Notenschrift gibt die Rhythmik der Töne an, wie der passende Ton gespielt wird zeigt ein Griffbild. Eine einfache Erklärung der Griffbilder für die Blockflöte ist im Anhang. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
Thema aus dem Klarinettenkonzert KV622
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Flûte à bec Alto
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INTERMÉDIAIRE
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Classique
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Wolfgang Amadeus Mozart
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songbooks
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Thema aus dem Klarinettenkonze
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songbooks.info
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SheetMusicPlus
Alto Recorder,Recorder Solo - Level 3 - SKU: A0.1362228 Composed by Wolfgang Amadeus Mozart. Arranged by songbooks.info. Chamber,Classical,Renaissance. ...
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Alto Recorder,Recorder Solo - Level 3 - SKU: A0.1362228 Composed by Wolfgang Amadeus Mozart. Arranged by songbooks.info. Chamber,Classical,Renaissance. Individual part. 2 pages. Songbooks.info #946705. Published by songbooks.info (A0.1362228). Well-known and popular themes from Classical Music - notated for the Alto Recorder. The classic musical notation indicate the rhythm of the tones, and a fingering image shows how the appropriate tone is played. A simple explanation of the fingering images for the Recorder is included in the appendix. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Altblockflöte. Die klassische Notenschrift gibt die Rhythmik der Töne an, wie der passende Ton gespielt wird zeigt ein Griffbild. Eine einfache Erklärung der Griffbilder für die Blockflöte ist im Anhang. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
Thema aus dem Klarinettenkonzert KV622
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Flûte à bec Soprano
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INTERMÉDIAIRE
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Classique
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Wolfgang Amadeus Mozart
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songbooks
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Thema aus dem Klarinettenkonze
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songbooks.info
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SheetMusicPlus
Recorder Solo,Soprano Recorder - Level 3 - SKU: A0.1346868 Composed by Wolfgang Amadeus Mozart. Arranged by songbooks.info. Chamber,Classical,Renaissanc...
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Recorder Solo,Soprano Recorder - Level 3 - SKU: A0.1346868 Composed by Wolfgang Amadeus Mozart. Arranged by songbooks.info. Chamber,Classical,Renaissance. Individual part. 2 pages. Songbooks.info #931651. Published by songbooks.info (A0.1346868). Well-known and popular themes from Classical Music - notated for the Soprano or Tenor Recorder. The classic musical notation indicate the rhythm of the tones, and a fingering image shows how the appropriate tone is played. A simple explanation of the fingering images for the Recorder is included in the appendix. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Sopran- oder Tenorblockflöte. Die klassische Notenschrift gibt die Rhythmik der Töne an, wie der passende Ton gespielt wird zeigt ein Griffbild. Eine einfache Erklärung der Griffbilder für die Blockflöte ist im Anhang. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
Thema aus der 6. Sinfonie
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Flûte à bec Soprano
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INTERMÉDIAIRE
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Classique
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Ludwig van Beethoven
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songbooks
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Thema aus der 6. Sinfonie
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songbooks.info
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SheetMusicPlus
Recorder Solo,Soprano Recorder - Level 3 - SKU: A0.1346871 Composed by Ludwig van Beethoven. Arranged by songbooks.info. Chamber,Classical,Renaissance. ...
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Recorder Solo,Soprano Recorder - Level 3 - SKU: A0.1346871 Composed by Ludwig van Beethoven. Arranged by songbooks.info. Chamber,Classical,Renaissance. Individual part. 3 pages. Songbooks.info #931653. Published by songbooks.info (A0.1346871). Well-known and popular themes from Classical Music - notated for the Soprano or Tenor Recorder. The classic musical notation indicate the rhythm of the tones, and a fingering image shows how the appropriate tone is played. A simple explanation of the fingering images for the Recorder is included in the appendix. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Sopran- oder Tenorblockflöte. Die klassische Notenschrift gibt die Rhythmik der Töne an, wie der passende Ton gespielt wird zeigt ein Griffbild. Eine einfache Erklärung der Griffbilder für die Blockflöte ist im Anhang. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
Variation über ein Thema von Haydn
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Flûte à bec Soprano
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INTERMÉDIAIRE
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Classique
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Johannes Brahms
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songbooks
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Variation über ein Thema
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songbooks.info
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SheetMusicPlus
Recorder Solo,Soprano Recorder - Level 3 - SKU: A0.1346876 Composed by Johannes Brahms. Arranged by songbooks.info. Chamber,Classical,Renaissance. Indiv...
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Recorder Solo,Soprano Recorder - Level 3 - SKU: A0.1346876 Composed by Johannes Brahms. Arranged by songbooks.info. Chamber,Classical,Renaissance. Individual part. 4 pages. Songbooks.info #931658. Published by songbooks.info (A0.1346876). Well-known and popular themes from Classical Music - notated for the Soprano or Tenor Recorder. The classic musical notation indicate the rhythm of the tones, and a fingering image shows how the appropriate tone is played. A simple explanation of the fingering images for the Recorder is included in the appendix. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Sopran- oder Tenorblockflöte. Die klassische Notenschrift gibt die Rhythmik der Töne an, wie der passende Ton gespielt wird zeigt ein Griffbild. Eine einfache Erklärung der Griffbilder für die Blockflöte ist im Anhang. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
Thema aus der 1. Sinfonie
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Flûte à bec Soprano
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INTERMÉDIAIRE
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Classique
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Johannes Brahms
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songbooks
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Thema aus der 1. Sinfonie
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songbooks.info
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SheetMusicPlus
Recorder Solo,Soprano Recorder - Level 3 - SKU: A0.1346870 Composed by Johannes Brahms. Arranged by songbooks.info. Chamber,Classical,Renaissance. Indiv...
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Recorder Solo,Soprano Recorder - Level 3 - SKU: A0.1346870 Composed by Johannes Brahms. Arranged by songbooks.info. Chamber,Classical,Renaissance. Individual part. 3 pages. Songbooks.info #931652. Published by songbooks.info (A0.1346870). Well-known and popular themes from Classical Music - notated for the Soprano or Tenor Recorder. The classic musical notation indicate the rhythm of the tones, and a fingering image shows how the appropriate tone is played. A simple explanation of the fingering images for the Recorder is included in the appendix. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Sopran- oder Tenorblockflöte. Die klassische Notenschrift gibt die Rhythmik der Töne an, wie der passende Ton gespielt wird zeigt ein Griffbild. Eine einfache Erklärung der Griffbilder für die Blockflöte ist im Anhang. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
"Joyful, Joyful, We Adore Thee" for 8-note C major diatonic scale Tongue Drum
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Classique
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Sharon Wilson
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Sharon Wilson
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"Joyful, Joyful, We Adore
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Sharon Wilson
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SheetMusicPlus
Hand Drum,Handpan,Instrumental Solo,Steel Pan - Level 1 - SKU: A0.569908 By Sharon Wilson. By Ludwig van Beethoven. Arranged by Sharon Wilson. Baroque,C...
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Hand Drum,Handpan,Instrumental Solo,Steel Pan - Level 1 - SKU: A0.569908 By Sharon Wilson. By Ludwig van Beethoven. Arranged by Sharon Wilson. Baroque,Classical,Holiday,Sacred,Traditional. Individual part. 10 pages. Sharon Wilson #6685593. Published by Sharon Wilson (A0.569908). This sheet music is notated for C major diatonic scale Tongue Drums (suitable for any 8, 11, or 13-note drum in the key of C). This hymn arrangement can be performed as a solo, as rhythmic chord accompaniment for singing, or as a duet. Four separate scores are provided for maximum flexibility. Whether beginner or experienced musician, these scores can be used in numerous ways from solo playing to playing with a partner or as a group. A note and chord reference chart is included as well as a rhythm pattern chart. Descriptions, suggestions, and uses for each score and chart are detailed on the introduction page and summarized below:Melody ScoreThis score can be played as a solo with or without singing along. Those new to reading standard music notation as well as those already familiar with music notation will find the numbers above the staff helpful. These numbers correspond to the numbers on the Tongue Drum. Lyrics appear below the staff for sing along enjoyment. Harmony ScoreThis score can be used in conjunction with the Melody Score to form a duet by providing the accompaniment (harmony) while someone plays or sings the melody. Note numbers below the staff corresponding to the numbers on the drum. Chord names are shown above the staff for playing a rhythmic accompaniment in place of the harmony accompaniment shown. The chord names can also be used for ensemble playing with other instruments (such as a Ukulele or Guitar).Grand StaffThe Grand Staff score combines the Melody Score with the Harmony Score. This score provides a visual overview of how the two scores line up and is helpful for a director or teacher using this set of scores in a group setting. If playing with a partner (a duet), this score may be easier to use since you both can see what the other person is playing. This score includes note numbers above the melody staff and below the harmony staff corresponding to the numbers on the drum; chord names shown above the harmony staff for ensemble playing with other instruments or for using a rhythmic chord accompaniment; and lyrics between the staves for sing along enjoyment. Advanced Solo ScoreThe Advanced Solo score includes harmony notes along with the melody notes to create a fuller sounding solo which can be played with or without singing along. Numbers corresponding to the numbers on the Tongue Drum are included above the staff.Note and Chord ChartThis chart consists of two separate staff rows. The first staff shows the notes used for the melody. The second staff shows the notes in each chord used in this song. Any combination of the notes within a given chord can be played using one of the rhythm patterns. Rhythm ChartThis chart shows four rhythm patterns that can be used as an accompaniment for the melody. Using the Harmony Score or the Grand Staff, follow the chord names to play notes from the given chord using one of the rhythm patterns.This arrangement is one of the 10 songs in the collection Hymns of Praise for 8-note C major diatonic scale Tongue Drums (A collection of 10 Solos and Duets).Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$3.99
THE DEEP for solo DOUBLE BASS
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Contre Basse
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Contemporain
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Alan Edgar
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THE DEEP for solo DOUBLE BASS
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Alan Edgar Ted Moon
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SheetMusicPlus
Double Bass,String Bass Solo - SKU: A0.1347908 Composed by Alan Edgar. 21st Century. Individual part. 10 pages. Alan Edgar Ted Moon #932722. Published b...
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Double Bass,String Bass Solo - SKU: A0.1347908 Composed by Alan Edgar. 21st Century. Individual part. 10 pages. Alan Edgar Ted Moon #932722. Published by Alan Edgar Ted Moon (A0.1347908). Jacques Cousteau, Father of the Aqualung, wrote: The sea, once it casts its spell, holds one in its net of wonder for ever.This piece, for virtuoso double bass, imagines a scuba-diver encountering large animals, and consists of a suite of short depictions of animals in the form of variations on a melody plus a recurrent new melody representing the diver's smooth movements and bubbles. The variations are: Lobster Jazz Waltz, Sea-anemone Belly-dance, Tuna Tune, Luminous Light Show, Dolphin Fling, Jaws Serial and Blues Whale Pavane.The piece lasts about eight minutes with repeats.TECHNICAL NOTE The C harmonics will be a pip flat--they are only bursting bubbles anyway!Scuba Fins tries to feel the quiet calmness and agelessness of the underwater world, using the ancient and universal major pentatonic scale C,D,E, G,A ,C. The rhythm is mostly steady and simple, but triplets indicate the occasional extra effort. Now and again, he glances down at the infinite depths. Tintinnabulation and soft staccatissimo arpeggios represent the bubbles. Lobster Waltz is a jazz waltz with many staccato notes and leaps representing the many appendages and the tangle of lively giant crustaceans.Sea-anemone Belly-Dance pictures the soft body and tentacles swaying under the waves, using the Arabic scale Shad 'Araban, roughly G,Ab, B,C,D,Eb,F#,G and influenced by a dance to the folk tune known as Bint El-Salabiya.Tuna Tune is a quick moto perpetuo in the cheerful major mode, septuple time, the rapid rise and fall of the phrases and of volume reflecting the powerful shoal's unpredictable, ceaseless movements, approaching and retreating.Dolphin Fling is a stathspey, or highland fling, using the major mode and typical dance rhythms including the Scotch snap to depict the weighty but intelligent dolphins enjoying their leisure time and perhaps dancing with the diver.Jaws Serial reminds us of the fear a shark generates, using the dissonant 12-note serial mode and unpredictable leaps and pauses. The opening slow trill will chill you as it invokes the Jaws film theme by John Williams. You might even hear the diver's heart sink and the snap pizzicato of the teeth snapping. The prime row is the nearest possible to the original theme: Bb, Ab, F, Eb, B, C, E, G, Db, D, Gb.A, but I have followed the contours of the main themes. Blues Whale is a pavane, a slow, stately processional incorporating the typical renaissance drum rhythm. and using a blues scale, G, A, Bb, C, C#, D, F, G, and an implied 12-bar minor blues harmony.
$20.00
Over The Rainbow
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Comédie Musicale
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Film/TV
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Judy Garland
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Richard Hirsch
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and 3&
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Over The Rainbow
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicu...
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Solo Guitar - Level 4 - SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicultural,Musical/Show,Standards,World. Individual part. 7 pages. Richard Hirsch #765578. Published by Richard Hirsch (A0.1165227). With inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement of the song Over the Rainbow for solo acoustic guitar. In my childhood The Wizard of Oz was one of my favourite fairy tales, especially as I spent a few of my early years in the little town of Winfield Kansas where tornadoes were a constant threat. I still remember huddling in the cellar with my mother and little brother when a tornado warning had been broadcast.With this in mind, the first part of the arrangement is meant to resemble a whirlwind that takes us up to the dreamland of Oz portrayed in the slower second part. In the third part, we come back down to waking reality in another mirror image whirlwind. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The piece ends with a chord of natural harmonics on the 3& upbeat. The natural harmonics in the rhythmic fingerpicking resembling a kalimba (thumb harp) add an African touch to the piece.The piece is within reach of advanced intermediate students of fingerstyle or classical acoustic guitar. Besides the polyrhythmic fingerpicking, in the second dreamland part the piece offers the opportunity to play a broken chord of right hand harmonics, usually a real hit with listening audiences. I give suggestions for left and right hand fingering where I think necessary. The suggested tempo is presto for the fast first and third parts, but they could be played even faster for dramatic effect. The slow dreamland second part should be played with the melody floating lazily over the beat.The piece is a good follow up to my arrangements, also available at SheetMusicDirect and SheetMusicPlus of Freight Train and What a Wonderful World that use the same fingerpicking techniques.
$4.99
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