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TRI ET FILTRES
TRI ET FILTRES
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I Get A Kick Out Of You
String Ensemble Cello,Double Bass,Viola,Violin - Level 5 - Digital Download SKU: A0.125…
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String Ensemble Cello,Double Bass,Viola,Violin - Level 5 - Digital Download SKU: A0.1253494 Composed by Cole Porter. Arranged by H.P. Gyldfeldt. 20th Century. 8 pages. H.P. Gyldfeldt #847183. Published by H.P. Gyldfeldt (A0.1253494). A classical American piece of music, special arrangement for Tenor Saxophone and String Orchestra. The string parts are highly professional - can also be played by String Quartet + bass. I have used my own compositorial ideas and mainly the standard chords. - I composed this arrangement for advanced professional musicians and it is going to be performed at a special concert for Chamber Orchestra and Tenor Saxophone as soloist in a cross-over repertoire. It is definitely enjoyabel for the musicians and there is good space in the piece for the Soloist's improvisation. Â - Alternatively a part is also available for Alto Saxophone.
$200.00
180.44 €
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Cole Porter
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H
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I Get A Kick Out Of You
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H.P. Gyldfeldt
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SheetMusicPlus
Piano Trio No. 1 "Poets and Prophets" (piano score - pno, vln, cel)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861898 Composed by …
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Connor Musik International #6206157. Published by Mark O'Connor Musik International (A0.861898). Piano Trio No. 1 Poets and Prophets (piano score – piano, vln, cel) MO160APiano Score (parts available)Music by Mark O’Connor51 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160A
$22.50
20.3 €
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets and Prophets"
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio No. 1 "Poets and Prophets" (violin part - pno, vln, cel)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861899 Composed by …
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Connor Musik International #6206159. Published by Mark O'Connor Musik International (A0.861899). Piano Trio No. 1 Poets and Prophets (violin part – piano, vln, cel) MO160BViolin Part (score and parts available)Music by Mark O’Connor20 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160.
$15.00
13.53 €
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets and Prophets"
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio No. 1 "Poets and Prophets" (cello part - pno, vln, cel)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by …
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Connor Musik International #6206161. Published by Mark O'Connor Musik International (A0.861901). Piano Trio No. 1 Poets and Prophets (cello part – piano, vln, cel) MO160CCello Part (score and parts available)Music by Mark O’Connor18 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number.
$15.00
13.53 €
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets and Prophets"
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Mark O'Connor Musik International
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SheetMusicPlus
A Night With The Aristocrats
Large Ensemble Cello,Clarinet,Double Bass,Guitar,Soprano Saxophone,Viola,Violin - Level 5 …
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Large Ensemble Cello,Clarinet,Double Bass,Guitar,Soprano Saxophone,Viola,Violin - Level 5 - Digital Download SKU: A0.942105 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Score and parts. 122 pages. Silver Sickle Publications #6332819. Published by Silver Sickle Publications (A0.942105). A Night with The Aristocrats (a concertante work of plucking, blowing and bowing)Versions for Clarinet/SopranoSax/Violin with Guitar and Strings The guitar part came inspirational first to me as one of my 24 Studies that I wrote few years ago. For a while though I wondered if a melodic part should be added to this part and form eventually a duo. A request from my dear colleague Corey Whitehead, for a duo plus strings led me to orchestrate it in this version.The work starts with a meditative introduction before the main part unfolds a dance idea between the two instruments and the string orchestra, almost humoresque which hands over a pensive thought in the soprano sax/clarinet/solo violin that repeats itself almost as an unanswered question. Could please anyone answers? The Strings do play an important part in terms of balance and the one of an extra third corresponding force.My composition language is sometimes folklorist around my Greek heritage, sometimes around tonal centers, and sometimes simple within a few key notes, evolves around programmatic ideas that I get from every day living. Apostolos Paraskevas
$45.00
40.6 €
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Apostolos Paraskevas
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A Night With The Aristocrats
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Silver Sickle Publications
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SheetMusicPlus
Pulse
Bongos,Cello,Electric Guitar,Marimba,Piano,Violin - Level 3 - Digital Download SKU: A0.…
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Bongos,Cello,Electric Guitar,Marimba,Piano,Violin - Level 3 - Digital Download SKU: A0.1012604 Composed by Michelle Kraak. Contemporary,Rock,Standards. 38 pages. Michelle Kraak #6102883. Published by Michelle Kraak (A0.1012604). Pulse is an energetic piece with a fun underlaying beat. The instrumentation includes marimba, bongo, amplified guitar, piano, violin and cello. I would recommend using amplification to get the best balance of sound. This piece has a few motivic ideas presented gradually. As the piece moves forward and grows in intensity, some of these ideas merge creating more drama. I would recommend it for students, as it would be a nice concert piece. The unique instrumentation can also help ensembles with non-standard instruments. 4 minutes 50 secondsashevilletrumpet.comhttps://www.facebook.com/kraakmichellehttps://www.instagram.com/kraakmichelle/https://www.linkedin.com/in/michelle-kraak-71b0258a/
$31.95
28.83 €
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Michelle Kraak
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Pulse
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Michelle Kraak
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SheetMusicPlus
Push & Pull by The Khromatiks, for Electric Violin & Loop Station
Electric Violin,Instrumental Solo - Level 4 - Digital Download SKU: A0.845977 By Th…
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Electric Violin,Instrumental Solo - Level 4 - Digital Download SKU: A0.845977 By The Khromatiks. By Kayleigh Moyer, Kyle Pudenz, and The Khromatiks. 20th Century,Contemporary,Jazz,Latin. Individual part. 10 pages. ViolinVagabond Music #5375599. Published by ViolinVagabond Music (A0.845977). This is a loop station composition for electric violin that I composed for my live-looping duo, The Khromatiks, in 2013. Doing my part to increase the available repertoire for extended range violins out here on the internet!I originally recorded this tune on a 7-string electric violin with a Boss RC-30 loop station. That being said, there are plenty of other gear configurations that will work. Any phrase looper/sampler that is capable of playing 2 separate tracks or sections with overdubs will be able to handle this structure, such as the Singular Sound Aeros, Boomerang III, Ableton Live with a MIDI controller, etc. If you don't play 7-string, a 5-string can also play this chart as written if you use an octave pedal to record the low bass lines. A standard 4-string can also work, although some phrases will have to be transposed 8va.A little about this tune: the head melody is a basic lydian dominant motif that gets displaced forwards or backwards by a sixteenth note on each iteration. In Nashville Number System, we call this sort of syncopation a push, which inspired the title. This idea transitions into a B solo section with a latin songo groove. This is a great tune for practicing tight rhythmic syncopation, or for developing solo ideas on modal scales!With The Khromatiks this piece was performed as a duo with violin & drums/percussion, but also works as a violin solo. If you have a looper capable of syncing to a click track, you could also try adding bass (plays the bottom line of loop 2 only) or guitar/keyboards (read the chord symbols as a lead-sheet). The sky is the limit, feel free to get creative with it!Please, if you have questions or suggestions, feel free to contact me via my website, www.kylepudenz.com/, or on Instagram @theviolinvagabond
$7.99
7.21 €
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The Khromatiks
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Push & Pull by The Khromatiks, for Electric Violin & Loop Station
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ViolinVagabond Music
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SheetMusicPlus
The Big Book of Pentatonics & Fourths
Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,Flute,Guitar,Horn,Oboe,P…
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,Flute,Guitar,Horn,Oboe,Piano,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Violin - Level 4 - Digital Download SKU: A0.829078 Composed by Eric Bolvin. Blues,Instructional,Jazz. Score and parts. 92 pages. ERIC V BOLVIN #3580507. Published by ERIC V BOLVIN (A0.829078). The Big Book of Pentatonics & Fourths is a series of four and six note groups that are developed into chromatic and diatonic lines. The concept of note groups was presented to me by the great pianist Hal Galper at the Jamey Aebersold clinic in 1980. I was young at the time but was hip to pentatonics so his ideas stayed with me and I’ve expanded on them in my own fashion.DescriptionA pentatonic scale is any group of five notes that cover the span of an octave. There are literally hundreds of pentatonic scales in Western music, and hundreds more that use alternate tunings.The Big Book of Pentatonics & Fourths will focus on the most common pentatonic scale, the major pentatonic and its relative minor. In the key of C the notes of the major pentatonic are: C D E G A. If you start on C and go up in perfect 5ths, you will get all the notes of the major pentatonic. The relative minor scale in A minor is A C D E G. If you start on E and go up in perfect 4ths, you will get the minor pentatonic in A.This book is a series of four and six note groups that are developed into chromatic and diatonic lines. The concept of note groups was presented to me by the great pianist Hal Galper at the Jamey Aebersold clinic in 1980. I was young at the time but was hip to pentatonics so his ideas stayed with me and I’ve expanded on them in my own fashion. You should watch the video that goes with this book for more detailed instruction on how to properly practice the exercises.
$19.95
18 €
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Eric Bolvin
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The Big Book of Pentatonics & Fourths
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ERIC V BOLVIN
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SheetMusicPlus
A Moon, A Minute
Choral Choir - Level 5 - Digital Download SKU: A0.1262540 Composed by Matthew Nunes…
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Choral Choir - Level 5 - Digital Download SKU: A0.1262540 Composed by Matthew Nunes. A Cappella,Chamber,Classical,Contemporary. Octavo. 60 pages. Matthew Nunes Music #855564. Published by Matthew Nunes Music (A0.1262540). Listen to this piece here     During the spring of 2014 four of Jupiter’s moons captured my imagination with their distinctive features as well as the powerful myths associated with each name. For Europa, Ganymede, Callisto, and Io the musical ideas I would use for each became clearer the more I researched. I chose a mixed choir to convey these ideas as the human voice can convey the awe and unknown of space more convincingly than most instruments. Each movement is intended as a vignette evoking what impacted me the most about each moon: I. Europa     Able to drive Jupiter wild with her beauty, Europa was stolen away by the god and proved bountiful to her captor. The moon may have the potential to support life and is now a primary target of our scientific efforts. This movement celebrates this vitality with driving rhythms supporting a soothing melodic line. II. Ganymede      This movement is a lament for the youth and beauty that once had male and female lovers pining for Ganymede. The moon that shares his name, however, has lost its youth and has been declared geologically dead. Written for the males of the chorus this movement features stacking triads and evokes our past where the highest and most beautiful male voices were adored.  III. Callisto      Nearly killed by her own son after Hera (Jupiter’s wife) spitefully transformed her into a bear, Callisto was a beautiful nymph who Jupiter set amongst the stars as Ursa Major. The moon itself has had its share of harm: in the heavy bombardment period it was impacted multiple times by large objects, the many craters of which are visible. I wrote this movement as if it were a reassuring lullaby and is to be performed by the female voices. A solo oboe* carries the melody over thick chords and is later intertwined with the choir.         - *While oboe is the original intent for this movement a flute or violin would make for an acceptable substitution. IV. Io     Io is a woman who suffered greatly under Jupiter’s lust and the bitterness of Hera’s jealousy. This moon represents the frustrations of suffering with its hundreds of active volcanoes and undying rumblings beneath the surface. Because of this it is one of the most tumultuous objects in our galaxy.  The choir churns forth with motives based off of diminished chords until the pressure built up can no longer be contained – eruption is imminent.- Matthew NunesWindsor, August 2014.
$2.50
2.26 €
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Matthew Nunes
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A Moon, A Minute
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Matthew Nunes Music
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SheetMusicPlus
Divergence by The Khromatiks, for Electric Violin & Loop Station
Small Ensemble Cello,Electric Violin,Viola - Level 5 - Digital Download SKU: A0.845980
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Small Ensemble Cello,Electric Violin,Viola - Level 5 - Digital Download SKU: A0.845980 By The Khromatiks. By Kayleigh Moyer, Kyle Pudenz, and The Khromatiks. Contemporary,Jazz,New Age,Rock. Score and parts. 25 pages. ViolinVagabond Music #5742365. Published by ViolinVagabond Music (A0.845980). This is a loop station composition for electric violin that I composed for my live-looping duo, The Khromatiks, in 2014. Doing my part to increase the available repertoire for extended range violins out here on the internet!I originally recorded this tune on a 7-string electric violin with a Boomerang III loop station. That being said, there are plenty of other gear configurations that will work. Any phrase looper/sampler that is capable of playing 2 separate tracks or sections with overdubs will be able to handle this structure, such as the Singular Sound Aeros, Boss RC-30, Ableton Live with a MIDI controller, etc. If you don't play 7-string, a 5-string can also play this chart as written if you transpose the bass stave up one octave and use an octave pedal for the pizzicato bass lines. A standard 4-string can also work, although most phrases will have to be transposed 8va.A little about this tune: there are 2 distinct sections. The first is a latin groove with a a highly syncopated chopping groove and a simple, soaring melodic head. This section can be opened up for a variety of solo ideas from jazz to Latin to funk, before it transitions using a common tone into the bridge, which is more of an epilogue. This section has much more of a heavy rock bent, with a thick stack of string overdubs that mimic an orchestra sitting over an overdriven rhythm groove, and a breakdown where aggressive drum fills are accompanied by rhythmic chugging in the violin. Finally, all of these ideas culminate as the A section melody is re-introduced over the rock groove, building to an ultimate climax.With The Khromatiks this piece was performed as a duo with violin & drums/percussion, but also works as a violin solo. I usually add additional percussive loops when I perform this solo.I have also included three auxiliary string parts, which can be used to perform this piece with a string section or an orchestra. The parts line up with the second section of the tune and replace some of the loops with live parts. You can see an example of this arrangement in the following video: https://youtu.be/IO30qF2WlR8?t=230The sky is the limit for electric violinists, so feel free to get creative with this chart and make it your own!Please, if you have questions or suggestions, feel free to contact me via my website, www.kylepudenz.com/, or on Instagram @theviolinvagabond
$7.99
7.21 €
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The Khromatiks
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Divergence by The Khromatiks, for Electric Violin & Loop Station
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ViolinVagabond Music
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SheetMusicPlus
If Not Now, When?
Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - Digital Downloa…
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Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - Digital Download SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!
$25.00
22.56 €
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Chris Gordon
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If Not Now, When?
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Cool Wind Music Digital
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SheetMusicPlus
Just a Little COVID Song
Drum Set,Electric Bass Guitar,Electric Guitar,Piano Accompaniment - Level 3 - Digital Down…
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Drum Set,Electric Bass Guitar,Electric Guitar,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105103 By David Kai. By David Kai. Arranged by David Kai. Comedy,Contemporary,Country,Rock. Full Performance. Duration 160. David Kai #708347. Published by David Kai (A0.1105103). This song has a public health message wrapped up in a bit of humour. This is not to ignore the incredible suffering this virus has caused, but it could be that we need some lightness in these very heavy times. This song has a public health message wrapped up in a bit of humour. This is not to ignore the incredible suffering this virus has caused, but it could be that we need some lightness in these very heavy times. JUST A LITTLE COVID SONG Words and music by David Kai ©2020 Chorus: Just a little COVID song, stay inside the whole day long Wondering how long it’ll be, it’s feeling like eternity Looking like a big disgrace, need a mask to hide my face I’ll sing this little COVID song This virus has me cooped up but I’ve got to play it safe Not doing very much of anything Was looking for ideas but it’s tough to get inspired Then out of nowhere I began to sing Just a little COVID song, stay inside the whole day long Wondering how long it’ll be, it’s feeling like eternity Now my style is out of whack, hair is halfway down my back I’ll sing this little COVID song (instrumental chorus) We’re thankful for the workers who are trying to keep us safe And searching hard to find a new vaccine So wash your hands and wear a mask and stay away from crowds So maybe next year I won’t have to sing Chorus:.
$1.99
1.8 €
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David Kai
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David Kai
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Just a Little COVID Song
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David Kai
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SheetMusicPlus
Kör ad lib. Blå
Various - Digital Download SKU: BJ.1005 Composed by Various. Arranged by Gunnar Eri…
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Various - Digital Download SKU: BJ.1005 Composed by Various. Arranged by Gunnar Eriksson. Octavo. 49 pages. Bo Ejeby Forlag - Digital #1005. Published by Bo Ejeby Forlag - Digital (BJ.1005). 8.27 x 11.7 inches.33 songs - from medieval hymns and traditional folk songs to minimalistic compositions - in arrangements or with ideas and improvisation models based on old and new tricks such as quodlibet, canon, polytonality and polyrhythms. This book has long been a successful and inspiring toolbox for choral conductors and singers all over the world. Notes in English and German are available from the publisher. Contents:O Kriste, du som ljuset ar Varldens fralsare, kom har Kristallen den fina Hymn till Magnus den helige Alle, psallite - Alleluya Amen Agnus Dei Ur Deploration sur la mort d'Ockeghem Canon angelicus Sanctus Tempus adest floridum In vernali tempore Pass et medio O bone Jesu Ein feste Burg Tysk julgrot Drei Engel De komma fran ost och vast Taga del i ost och vast Till Osterland vill jag fara Ah ya Zein Lele Jano Janko Guantanamera Danse, icke grate na Folkharpa Olson III Ligeti-improvisation I-A-O Isaac og Ivan og Innsbruck Omnia mutantur, nihil interit.
$17.00
15.34 €
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Various
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Gunnar Eriksson
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Kör ad lib. Blå
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Bo Ejeby Forlag - Digital
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SheetMusicPlus
Freewill Fanfare
Brass Ensemble Trombone - Level 4 - Digital Download SKU: A0.918220 Composed by Sam…
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Brass Ensemble Trombone - Level 4 - Digital Download SKU: A0.918220 Composed by Samantha Hogan. 20th Century,Contemporary. Score and parts. 37 pages. Coffee Seal Music #5988871. Published by Coffee Seal Music (A0.918220). Purchase Includes Score and 1 Set of PartsInstrumentation: 8 Part Trombone ChoirDifficulty: Intermediate-Advanced (perfect for advance high school or College level ensembles)About the piece:Jim [ten Bensel] graciously invited me to write a piece for the 2018 Minneapolis Trombone choir and I willingly accepted. In the span of a night before our next rehearsal (inspired by inadvertent procrastination and an explosion of ideas, not to mention an overabundance of coffee), I came up with this fanfare. The name comes from the Rush song Freewill, in which I quoted a line from Geddy Lee's melodic bass playing. It is hidden in plain sight. If you know the song, see if you can find it! The form of the song is a metaphor for life, the greatest test of free will. An ostinato that carries throughout the piece starts with only the first trombones. Eventually, you meet other people and influences that begin shape who you are, which is why the remaining trombones add more musical ideas as the piece continues. The middle section fluctuates between time signatures and tone colors (confusion, emotions) and the ensemble and conductor choose how the tempo ebbs and flows. It is never played the same way twice. Eventually, everything comes together at the end, which is why the ensemble ends, with the original ostinato, together.
$24.00
21.65 €
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Samantha Hogan
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Freewill Fanfare
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Coffee Seal Music
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SheetMusicPlus
AsCent for Mixed Ability School Ensemble and Classroom
Small Ensemble - Level 2 - Digital Download SKU: A0.972023 Composed by Keir C. Craw…
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Small Ensemble - Level 2 - Digital Download SKU: A0.972023 Composed by Keir C. Crawley. Children,Contemporary,Instructional. Score and parts. 14 pages. Keir C Crawley #3129967. Published by Keir C Crawley (A0.972023). ‘AsCent’ is the culmination of a number of ideas and experiences, first of which was the need to compose exciting and challenging music for the classroom. This piece attempts to put the Key Stage 2 or Key Stage 3 budding musician into the musical world of the Marvel Cinematic Universe or other similar big budget sci-fi action adventure films. Combining motor ostinati with contextually more adventurous accompanying harmony my aim is to move the musical learning away from the sometimes twee and undemanding into something with a little more musical bite. This orchestration of the piece includes parts for what I have come to know as a ‘mixed ability school ensemble’ i.e. a selection of instruments that you might typically find being taught in high schools both in London and nationally. The idea behind this was to put primary school musicians alongside older (sometimes as much as 10 years older) musicians from high schools to act both as inspiration and role models. 'AsCent’ for mixed ability school ensemble was first performed on Saturday 1st July 2017 by 76 musicians including 34 primary school children from the London Borough of Brent under the baton of the composer.
$20.00
18.04 €
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Keir C
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AsCent for Mixed Ability School Ensemble and Classroom
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Keir C Crawley
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SheetMusicPlus
Heavy Metal for Balinese gamelan and chamber ensemble
Small Ensemble Bass Guitar,Violin - Level 4 - Digital Download SKU: A0.1013048 Comp…
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Small Ensemble Bass Guitar,Violin - Level 4 - Digital Download SKU: A0.1013048 Composed by Christine Southworth. Contemporary,World. Score and parts. 76 pages. Airplane Ears Music #5802059. Published by Airplane Ears Music (A0.1013048). HEAVY METAL (2006, 18') for Balinese Gamelan Gong Kebyar, guitar, violin, bass, lyricon, and robotic instruments. Commissioned by the Boston Museum of Science with the support of NEFA and Meet the Composer. Premiered on Wednesday, January 25, 2006 at Cahner's Theater in the Boston Museum of Science as part of Music & The Invasion of Technology, performed by Gamelan Galak Tika, Blake Newman, Erik Nugent, Todd Reynolds, and Eddie Whalen. Heavy Metal represents a new kind of fusion, multi-dimensional, making connections across cultures acoustic and electronic, western and eastern, high and low, human and machine. The piece was written for Gamelan Galak Tika, a Balinese gamelan in residence at MIT that has worked with electric instruments many times in the past, but this is certainly the first time a traditional Balinese gamelan has shared the stage with robotic instruments. In other ways, though, there is something very natural about these combinations: they reflect the way we all experience music in the 21st century. It could also be argued that this is simply an extension of the way music has always progressed and changed, as Chinese shawms morphed into oboes, and exotic middle eastern percussion instruments, like the cymbal and triangle, worked their way into the symphony orchestra. Heavy Metal engages the full force of two ensembles, Galak Tika and Ensemble Robot, as well as a living history of electroacoustic instruments, from the vintage lyricon to the Whirlybot. The sounds implicit in both senses of the title find their way into new combinations of struck bronze and excitable circuitry. Heavy Metal is based on American hard rock music from the late 1970’s through the early 1990s. The idea started as a pun, because the keys of many Balinese gamelan instruments are made of metal, but when I began studying the melodic ideas and rhythms in heavy metal music, I found that they leant themselves very well to gamelan. The problem was that a gamelan has a very specific sound and limited timbral variation, the sounds of hit metal and skin. I feel that the sounds of the gamelan become much more interesting when combined with string sounds. Also, the gamelan uses a pentatonic scale so I am using western instruments and robots to expand the sound universe to a full spectrum. In this piece, the gamelan and the western/robotic instruments play separately – rhythmically they are together, and they are working through the same material at the same time, but the western instruments and robots do not play the 5 notes that the gamelan plays, and more often than not they stay out of that key (a variation of E Major, the gamelan tuning being C#, D#, E, G, and A) altogether. This creates a sense of two harmonic worlds co-existing and cooperating, the West and our technology with Bali and their technology, much more primitive but very powerful nonetheless.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic ideas. Inspired by intersections of technology and art, nature and machines, and musics from cultures around the world, her music employs sounds from man and nature, from Van de Graaff Generators to honeybees, Balinese gamelan to seismic data from volcanoes. Website: www.kotekan.com
$25.00
22.56 €
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Christine Southworth
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Heavy Metal for Balinese gamelan and chamber ensemble
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Airplane Ears Music
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SheetMusicPlus
Mini Suite for picc
Instrumental Solo - Level 5 - Digital Download SKU: A0.1351689 By Denissa Rivas. By…
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Instrumental Solo - Level 5 - Digital Download SKU: A0.1351689 By Denissa Rivas. By Denissa Rivas. 21st Century,Contemporary. Individual part. 5 pages. Janice Malan #936518. Published by Janice Malan (A0.1351689). Mini Suite for Picc I had many ideas for a piccolo piece, but did not know how to tie them together. Then, while playing in a summer band, I heard several flute players say they don't like playing piccolo unless it is just for short passages. That gave me the idea of a suite with small movements where I could implement my musical ideas. Each movement in this mini suite is a little sample of what the piccolo can do: arpeggio passages, imitation of birds, sweet melodies, chromatic runs, and of course, super high notes while changing meter.
$10.00
9.02 €
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Denissa Rivas
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Mini Suite for picc
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Janice Malan
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SheetMusicPlus
Diehnelt: Stile Antico for 5-voice cello ensemble
String Ensemble,String Quintet Cello - Level 5 - Digital Download SKU: A0.809059 Co…
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String Ensemble,String Quintet Cello - Level 5 - Digital Download SKU: A0.809059 Composed by Kim Diehnelt. Baroque,Concert,Contemporary. Score and parts. 10 pages. Kim Diehnelt #4350647. Published by Kim Diehnelt (A0.809059). Stile Antico: On a theme of Palestrina (2012) for 5-voice cello ensemble The title Stile Antico refers a style of musical composition from the 16th century which was often employed in church music, because it allowed the words (sacred text) of each singer to be clearly heard. This pre-classical polyphony was many-voiced and without instrumental accompaniment. Inspired by a theme from a mass by Giovanni Pierluigi da Palestrina (c. 1525 – 1594) ‘Praestet hoc nati genitor, I present a modern cello ensemble rendition of this ‘ancient style.’ Most conspicuous of the work’s attributes is the use of time. Rather than moving the musical ideas and themes towards a goal or through structural development and a sense of progress, the music (and time) unfolds perhaps as the natural swing of a pendulum; neither clinging to a past, nor anticipating a future. The listener beholds one moment continuously being reshaped through sound. Also, the concepts of melody and harmony as we assume them today are blurred. Of the five players, no one has the melody, no one has the harmony, yet together the ensemble combines to create a continuous flux of melodic-harmony (or harmonic-melody). This idea is of another type of ‘stile antico.’ Within the ideas of alchemy, which richly influenced the music of the 16th century and beyond, exists the concept that one plus one equals three. That is, two objects also create a ‘between-ness.’ So too with musical voices; the combination of two voices creates a new between-ness. Through out this work the individual cellists create a continuously shifting canvas of ‘between-ness.’ The music and the performers ask for a renewed perception of the many between-nesses of our present moment. www.kimdiehnelt.com(c) 2012 (ASCAP)
$18.95
17.1 €
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Kim Diehnelt
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Diehnelt: Stile Antico for 5-voice cello ensemble
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Kim Diehnelt
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SheetMusicPlus
Telemann – Polish Dances from the Rostock Manuscript TWV 45
Small Ensemble - Level 1 - Digital Download SKU: A0.890779 Composed by Georg Philip…
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Small Ensemble - Level 1 - Digital Download SKU: A0.890779 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Folk,Jewish,World. Score and parts. 32 pages. Sneakwood Editions #5799897. Published by Sneakwood Editions (A0.890779). Georg Philipp Telemann – Polish Dances from the Rostock Manuscript TWV 45 (Danse d`Polones / Danse Polonie)Telemann was seduced by Polish music, especially by his dances and popular musicI became acquainted there and also in Krakau with Polish and Moravian music in its true, barbaric beauty […] […] it is impossible to imagine the fantastic musical ideas they presented between dances when the dancers rested and the musicians improvised music together [‘jammed’] to fill out the time. Anyone who paid very close attention could pick up in 8 days sufficient musical ideas to last a lifetime.(Telemann’s autobiography, published in Mattheson’s Ehren-Pforte, Hamburg, 1740)It is easy to understand, through Telemann’s own words, the great influence that Polish music and Polish dances had on Telemann. It was in 1705 when Telemann become Kapellmeister for the court of Count Erdmann II of Promnitz at Sorau (now Żary, in Poland), His career there was cut short in early 1706 by the hostilities of the Great Northern War but his contact with Polish music marked him for life.These Polish dances found in Rostock are a reflection of the music that Telemann heard and transcribed. A reflection of that barbaric beauty.The manuscript was discovered in 1986 at the University of Rostock. It consists of two volumes. One of the volumes contains the violin part and the other the bass part.
$18.00
16.24 €
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Georg Philipp Telemann
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Sneakwood Editions
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Telemann – Polish Dances from the Rostock Manuscript TWV 45
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Sneakwood Editions
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SheetMusicPlus
Handel: Six Sonatas Complete for Baritone Horn Duo
Instrumental Duet Baritone Horn TC/Euphonium,Instrumental Duet - Level 4 - Digital Downloa…
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Instrumental Duet Baritone Horn TC/Euphonium,Instrumental Duet - Level 4 - Digital Download SKU: A0.552880 Composed by George Frideric Handel. Arranged by James M. Guthrie. Baroque,Holiday,Standards,Wedding. Score and parts. 156 pages. Jmsgu3 #6362473. Published by jmsgu3 (A0.552880). G. F. Handel: Six Sonatas Complete (K. 555) Sonata No. II. LarghettoII. AllegroIII. AndanteIV. AllegroDuration: 9', Score: 13 pages Sonata No. II I. AffettuosoII. AllegroIII. DolceIV. VivaceDuration: 8:20' Score: 16 pages Sonata No. III I. AndanteII. PrestoIII. GraziosoIV. AllegroDuration: 8:50' Score: 15 pages Sonata No. IV I. AdagioII. AllegroIII. AmorosoIV. VivaceDuration: 9:15 Score: 14 Pages Sonata No. V I. LargoII. AllegroIII. SoaveIV. AllegroScore: 13 Pages, Duration: 11:12 Sonata No. VI I. AdagioII. AllegroIII. AndanteIV. VivaceDuration: 9:30 Score: 13 pagesGeorge Frideric Handel is one of the most celebrated composers of the Baroque era. He composed many genres of music, but he is best known for his large-scale choral works, including operas, oratorios, and cantatas. He was also highly respected for his chamber music and sonatas. Handel's chamber music was composed for small groups of instruments and was often used for private performances. His sonatas were written for a single instrument and often included a keyboard instrument. Handel was renowned for his ability to blend melodic ideas and inventive harmonies into his compositions, creating a unique and personal style. His works continue to be performed today, and his chamber music and sonatas are some of the most beloved pieces of music from the Baroque period. Handel's duet output was particularly noteworthy, and he wrote some of the most iconic and beloved duets in music history. His duets were often set in a homophonic texture, allowing the two voices to move together in harmony and melody. Handel also employed polyphonic techniques in his duets, using complex counterpoint and rhythmic devices to create rich, textured works. His duets often featured ornate melodies and rich harmonies, creating a full sound that was both beautiful and moving. Handel's duets are still some of the most popular works in classical music today, and they continue to be performed and enjoyed by audiences around the world.
$59.95
54.09 €
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George Frideric Handel
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James M
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Handel: Six Sonatas Complete for Baritone Horn Duo
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jmsgu3
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SheetMusicPlus
Legacy for Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1453498 Composed by Sy Brand…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Brandon (A0.1453498). Legacy is a three-movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission in 2007 by the Washington Sinfonietta, Rufus Jones, conductor and rewritten for chamber orchestra in 2023. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate isquieted by a measure of repeated chords that could be the words, stop it! stop it now!” A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries brings the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressing the harshness of the climate. Colleen McCullough's book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato creating a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Score prints on legal size paper and parts on letter.
$40.00
36.09 €
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Sy Brandon
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Legacy for Chamber Orchestra
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Sy Brandon
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SheetMusicPlus
Legacy for Clarinet, Violin, Cello, and Piano
Small Ensemble Cello,Clarinet,Piano,Violin - Level 4 - Digital Download SKU: A0.755023
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Small Ensemble Cello,Clarinet,Piano,Violin - Level 4 - Digital Download SKU: A0.755023 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 94 pages. Sy Brandon #3244205. Published by Sy Brandon (A0.755023). Legacy is a three movement composition that makes social commentary on the issue of global warming. It was commission and premiered by the Washington Sinfonietta, Rufus Jones, conductor, and later transcribed by the composer for quartet for the chamber music group, enhaké. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming. The debate grows stronger as the cries grow weaker. The debate is quieted by a measure of repeated chords that could be the words, stop it! stop it now!. A weak cry in the clarinet brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries bring the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressive the harshness of the climate. Colleen McCollough’s book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato that creates a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Legacy has been recorded by enhaké on the Emeritus Recordings CD Legacy.
$14.99
13.52 €
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Sy Brandon
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Legacy for Clarinet, Violin, Cello, and Piano
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Sy Brandon
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SheetMusicPlus
Cherry Pink And Apple Blossom White
Guitar Ensemble Guitar - Level 3 - Digital Download SKU: A0.797717 By Alan Dale. By…
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Guitar Ensemble Guitar - Level 3 - Digital Download SKU: A0.797717 By Alan Dale. By Marcel Louiguy. Arranged by Derek Hasted. Contemporary. Score and parts. 16 pages. Derek Hasted #3692831. Published by Derek Hasted (A0.797717). CHERRY PINK - GUITAR QUARTET/LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This is another fun and accessible arrangement that's easy to play, has a big sound and locks together tightly.This arrangement of the well-known piece has rhythms that interlock and keep the piece tightly together; it works well in concert and has instant appeal with the audience.It will have a charming clarity as a quartet, but a larger ensemble will generate a real wall of sound that will wow the audience.Perfect for a school concert or as a crowd-pleaser in an adult concert.There is a delightful key-change in the middle and the score also has some performance ideas... Supplied as a full score and parts - there are no page-turns in the parts.I hope you enjoy playing this piece!
$4.99
4.5 €
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Alan Dale
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Derek Hasted
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Cherry Pink And Apple Blossom White
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Derek Hasted
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SheetMusicPlus
Handel: Sonata No. 1 for Baritone Horn Duo
Instrumental Duet Baritone Horn TC/Euphonium,Instrumental Duet - Level 4 - Digital Downloa…
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Instrumental Duet Baritone Horn TC/Euphonium,Instrumental Duet - Level 4 - Digital Download SKU: A0.552874 Composed by George Frideric Handel. Arranged by James M. Guthrie. Baroque,Holiday,Standards,Wedding. Score and parts. 25 pages. Jmsgu3 #6345077. Published by jmsgu3 (A0.552874). Sonata No. 1, K. 555I. LarghettoII. AllegroIII. AndanteIV. AllegroDuration: 9', Score: 13 pagesGeorge Frideric Handel is one of the most celebrated composers of the Baroque era. He composed many genres of music, but he is best known for his large-scale choral works, including operas, oratorios, and cantatas. He was also highly respected for his chamber music and sonatas. Handel's chamber music was composed for small groups of instruments and was often used for private performances. His sonatas were written for a single instrument and often included a keyboard instrument. Handel was renowned for his ability to blend melodic ideas and inventive harmonies into his compositions, creating a unique and personal style. His works continue to be performed today, and his chamber music and sonatas are some of the most beloved pieces of music from the Baroque period.Handel's duet output was particularly noteworthy, and he wrote some of the most iconic and beloved duets in music history. His duets were often set in a homophonic texture, allowing the two voices to move together in harmony and melody. Handel also employed polyphonic techniques in his duets, using complex counterpoint and rhythmic devices to create rich, textured works. His duets often featured ornate melodies and rich harmonies, creating a full sound that was both beautiful and moving. Handel's duets are still some of the most popular works in classical music today, and they continue to be performed and enjoyed by audiences around the world.
$27.95
25.22 €
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George Frideric Handel
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James M
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Handel: Sonata No. 1 for Baritone Horn Duo
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jmsgu3
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SheetMusicPlus
Handel: Sonata No. 2 for Baritone Horn Duo
Instrumental Duet Baritone Horn TC/Euphonium,Instrumental Duet - Level 4 - Digital Downloa…
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Instrumental Duet Baritone Horn TC/Euphonium,Instrumental Duet - Level 4 - Digital Download SKU: A0.552875 Composed by George Frideric Handel. Arranged by James M. Guthrie. Baroque,Holiday,Standards,Wedding. Score and parts. 28 pages. Jmsgu3 #6349019. Published by jmsgu3 (A0.552875). Sonata No. 2, K. 555I. AffettuosoII. AllegroIII. DolceIV. VivaceDuration: 8:20' Score: 16 pagesGeorge Frideric Handel is one of the most celebrated composers of the Baroque era. He composed many genres of music, but he is best known for his large-scale choral works, including operas, oratorios, and cantatas. He was also highly respected for his chamber music and sonatas. Handel's chamber music was composed for small groups of instruments and was often used for private performances. His sonatas were written for a single instrument and often included a keyboard instrument. Handel was renowned for his ability to blend melodic ideas and inventive harmonies into his compositions, creating a unique and personal style. His works continue to be performed today, and his chamber music and sonatas are some of the most beloved pieces of music from the Baroque period.Handel's duet output was particularly noteworthy, and he wrote some of the most iconic and beloved duets in music history. His duets were often set in a homophonic texture, allowing the two voices to move together in harmony and melody. Handel also employed polyphonic techniques in his duets, using complex counterpoint and rhythmic devices to create rich, textured works. His duets often featured ornate melodies and rich harmonies, creating a full sound that was both beautiful and moving. Handel's duets are still some of the most popular works in classical music today, and they continue to be performed and enjoyed by audiences around the world.
$27.95
25.22 €
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George Frideric Handel
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James M
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Handel: Sonata No. 2 for Baritone Horn Duo
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jmsgu3
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SheetMusicPlus
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