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TRI ET FILTRES
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And Then We See (Arranged for Flugelhorn)
Flugelhorn,Piano,Violin - Level 4 - Digital Download SKU: A0.1284795 Composed by Ho…
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Flugelhorn,Piano,Violin - Level 4 - Digital Download SKU: A0.1284795 Composed by Ho Fong Leong. Classical,Contemporary,New Age. 17 pages. Marco leong #875974. Published by Marco leong (A0.1284795). Alternate arrangement for Violin, Flugelhorn and Piano, Aug 2023.Dedicated to Simon, Leo and Wellington School as a parting gift. Scored for Violin, Horn and Piano. Premiered in St George's Bristol, September 2019. “And then we see†is dedicated to the wonderful people I have met throughout my journey in Wellington School, especially to two of my very good friends – Simon, a euphonist; and Leo, a ‘cellist. Originally planned to be written for Piano, ‘Cello and Euphonium, and to be finished and performed in our last school concert as a goodbye gift, I had however not managed to complete the work before graduation. I have therefore taken this opportunity to express my emotions and sentiments from the time with this newly written piece. One can therefore very easily sense the nostalgia pouring right from the very beginning of the music, as I reminisce our years together. It is based loosely on a ternary structure (ABA) – the A section depicts the moment of farewell. One can hear the violin plays a very simple, bell-like melody, representing the bell-strikes which signify that it is the end of a long journey – time to say goodbye. The B section, based on the very same melody, transforms itself into a 6/8 dance. This dance depicts the pang and melancholia as we bid farewell, leading to a passionate climax. The A section then returns with the melody in its original form, announced by the horn. The coda concludes the piece, trying to move away from the tonic, representing the start of a new chapter in our journey and our optimistic feelings about it. Throughout the piece there are also quotes from the famous Westminster chimes, and variants of it, enforcing the bell imagery.
$6.99
6.39 €
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Ho Fong Leong
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and Leo, a ‘cellist
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And Then We See
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Marco leong
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SheetMusicPlus
And Then We See
Small Ensemble Horn,Piano,Violin - Digital Download SKU: A0.506269 Composed by Ho F…
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Small Ensemble Horn,Piano,Violin - Digital Download SKU: A0.506269 Composed by Ho Fong Leong. Classical,Contemporary,New Age. Score and parts. 18 pages. Published by Marco leong (A0.506269). Dedicated to Simon, Leo and Wellington School as a parting gift. Scored for Violin, Horn and Piano. Premiered in St George's Bristol, September 2019. “And then we see†is dedicated to the wonderful people I have met throughout my journey in Wellington School, especially to two of my very good friends – Simon, a euphonist; and Leo, a ‘cellist. Originally planned to be written for Piano, ‘Cello and Euphonium, and to be finished and performed in our last school concert as a goodbye gift, I had however not managed to complete the work before graduation. I have therefore taken this opportunity to express my emotions and sentiments from the time with this newly written piece. One can therefore very easily sense the nostalgia pouring right from the very beginning of the music, as I reminisce our years together. It is based loosely on a ternary structure (ABA) – the A section depicts the moment of farewell. One can hear the violin plays a very simple, bell-like melody, representing the bell-strikes which signify that it is the end of a long journey – time to say goodbye. The B section, based on the very same melody, transforms itself into a 6/8 dance. This dance depicts the pang and melancholia as we bid farewell, leading to a passionate climax. The A section then returns with the melody in its original form, announced by the horn. The coda concludes the piece, trying to move away from the tonic, representing the start of a new chapter in our journey and our optimistic feelings about it. Throughout the piece there are also quotes from the famous Westminster chimes, and variants of it, enforcing the bell imagery.
$6.99
6.39 €
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Ho Fong Leong
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and Leo, a ‘cellist
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And Then We See
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Marco leong
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SheetMusicPlus
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,…
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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 - Digital Download 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
9.14 €
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Nathan Petitpas - Dots and Beams
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I encourage you to use both
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Pitch and Rhythm - Treble Clef, Diatonic
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Dots and Beams
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SheetMusicPlus
BLAINVILLE – SUITE TURQUE
Small Ensemble Cello,Double Bass,Flute,Harpsichord,Viola,Violin - Level 2 - Digital Downlo…
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Small Ensemble Cello,Double Bass,Flute,Harpsichord,Viola,Violin - Level 2 - Digital Download SKU: A0.890773 Composed by Charles Henri de Blainville. Arranged by Sneakwood Editions. Baroque. Score and parts. 17 pages. Sneakwood Editions #5321913. Published by Sneakwood Editions (A0.890773). Blainville – Suite TurqueChanson TurqueMarche des JannissairesGuideyorumDanse de chypre The PDF includes:IntroductionFacsimileArrangement for Traverso, two violins, viola, violoncello & percussion ad libitum by Javier Lupiáñez as performed by Les Esprits Animaux (Watch video!)ScorePartsBlainville – Suite Turque, performed by Les Esprits AnimauxBlainville was born in 1711 in Tours and died in Paris in 1769. In the spirit of the time Blainville was a practical musician, composer, theorist, historian and, in some way, an encyclopedist. As practical musician and composer he was cellist and it is known that he played his own compositions at the Concert Spirituel in Paris, but neither his performances nor his compositions met with outstanding success.As theorist Blainville claimed the discovery of a third mode (mode mixte) between major and minor, unfortunately his harmonic theories did not have the expected success.As historian and encyclopedist we found his work Historie générale et philologique de la musique, published in Paris in 1767. The work is in consonance with other contemporaries works such as Rousseau’s Dictonaire de Musique (1768) or the Essai sur la musique ancienne et moderne, published around 1780 by M. de Laborde and Pierre Joseph Roussier. As in these works, the work of Blainville broadly covers the musical knowledge, including theoretical-musical, stylistic, historical and ethnographic aspects. Framed in this last aspect we find a chapterdedicated to the music of the Turks. And it is in this chapter we find the musical pieces used in this arrangement.
$16.00
14.63 €
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Charles Henri de Blainville
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Sneakwood Editions
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BLAINVILLE – SUITE TURQUE
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Sneakwood Editions
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SheetMusicPlus
Bring Us Rest (piano, vocal, cello)
Small Ensemble Cello,Piano,Voice - Level 3 - Digital Download SKU: A0.919480 Compos…
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Small Ensemble Cello,Piano,Voice - Level 3 - Digital Download SKU: A0.919480 Composed by Eleace Monet Zachary. Celtic,Christian,Sacred. Score and parts. 7 pages. Eleace Monet Zachary #3400223. Published by Eleace Monet Zachary (A0.919480). Piano, Vocal solo or duet, plus Cello Intermediate level. Contemporary spiritual with a Celtic influence. The lyrics come from Moses Chapter 7, where Enoch's vision and communication with God are written. It is a beautiful story of some of the major events on earth, such as the Flood and the coming of Jesus Christ. The most poignant part being the revelation of the sorrow of God at the loss of His children, and the promise given that Jesus Christ would come in the Last Days to bring rest to the earth.The piano accompaniment is also a story. The beginning is meant to feel like the beginnings of a light rain. As the song progresses, the clouds and rain intensifies, and then lightens until the rains clear. Other versions available: Piano/Vocal, Cello only.Length: about 3:48 www.eleacemonet.com
$3.99
3.65 €
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Eleace Monet Zachary
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www
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Bring Us Rest
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Eleace Monet Zachary
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SheetMusicPlus
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