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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
BJE Music
Non classifié
543
Piano & claviers
Piano seul
3 188
Piano, Voix
2 288
1 Piano, 4 mains
41
Piano, Voix et Guitare
20
Piano Facile
16
Orgue
13
2 Pianos, 4 mains
8
Piano Trio: piano, violon, violoncelle
7
Accompagnement Piano
6
Instruments en Do
5
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
2
Clavecin
1
Fake Book
1
+ 9 instrumentations
Retracter
Guitares
Guitare
25
Guitare notes et tablatures
7
2 Guitares (duo)
3
3 Guitares (trio)
2
4 Guitares (Quatuor)
2
Banjo
1
Mandoline
1
Mandoline, Guitare (duo)
1
Basse electrique
1
Ukulele
1
Dobro
1
+ 6 instrumentations
Retracter
Voix
Chorale SATB
836
Chorale 3 parties
14
Chorale 2 parties
14
Chorale TTBB
13
Chorale Unison
6
Voix duo, Piano
6
Voix Soprano, Piano
4
Voix moyenne, Piano
3
Chorale SSAA
3
Voix Baryton, Piano
2
Chorale
2
Voix duo
2
Voix seule
2
Voix Tenor
1
Voix haute
1
Chorale SSATTB
1
Voix basse, Piano
1
Voix Mezzo-Soprano, Piano
1
+ 13 instrumentations
Retracter
Vents
Flûte, Hautbois, Clarinette, Basson
21
Saxophone Alto et Piano
17
Flûte traversière et Piano
17
Clarinette et Piano
16
Quatuor de Clarinettes: 4 clarinettes
16
Saxophone Soprano et Piano
12
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
12
Flûte traversière
10
Quatuor de Saxophones: 4 saxophones
10
Ensemble de Clarinettes
9
2 Flûtes traversières (duo)
8
Quintette de Saxophone: 5 saxophones
7
Hautbois, Piano (duo)
7
2 Clarinettes (duo)
6
2 Saxophones (duo)
6
Ensemble de saxophones
5
Saxophone Alto
5
Saxophone Tenor
5
Saxophone Tenor et Piano
5
Quatuor de Flûtes : 4 flûtes
5
Saxophone Soprano
4
Clarinette
4
2 Hautbois (duo)
4
Ensemble de Flûtes
4
Trio de Flûtes: 3 flûtes
3
Ocarina
3
Quintette de Clarinettes: 5 clarinettes
3
3 Saxophones (trio)
2
3 Clarinettes (trio)
2
Quintette de Flûte : 5 flûtes
2
2 Clarinettes, Piano
2
Flûte, Violon, Piano
2
Flûte, Hautbois, Piano (trio)
2
Clarinette, Violoncelle (duo)
1
2 Flûte à bec (duo)
1
Flûte, Clarinette, Piano (trio)
1
Harmonica
1
Ensemble De Flûte à bec
1
2 Saxophones, Piano
1
Quatuor de Flûtes à bec
1
Flûte et Guitare
1
Clarinette Basse, Piano
1
Flûte, Violoncelle
1
Flûte, Hautbois, Basson
1
+ 39 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
22
Trompette
17
Quatuor de Cuivres : 2 trompettes, trombone, tuba
13
Trompette, Piano
11
Trombone et Piano
9
2 Trombones (duo)
7
2 Cors (duo)
7
2 Trompettes (duo)
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Quatuor de cuivres: 4 cors
5
Trombone
4
Tuba et Orgue
4
2 Tubas (duo)
4
Tuba et Piano
3
Cor et Piano
3
Ensemble de Trombones
2
3 Trompettes (trio)
2
Ensemble de Trompettes
2
Trompette, Trombone (duo)
1
Quatuor de Cuivres
1
3 Trombones (trio)
1
Cor (partie séparée)
1
Quatuor de cuivres: 4 trombones
1
Euphonium
1
+ 19 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
42
Violon et Piano
24
Harpe
13
Violon
13
Violoncelle, Piano
11
Trio à Cordes: violon, alto, violoncelle
9
Alto, Piano
9
Violoncelle
9
2 Violons (duo)
8
Violon (partie séparée)
6
2 Violoncelles (duo)
5
2 Altos (duo)
5
Contrebasse (partie séparée)
3
Contre Basse
2
Violoncelle (partie séparée)
2
Ensemble de Violons
2
Alto (partie séparée)
2
Alto seul
2
Violon, Alto (duo)
2
Violon, Violoncelle (duo)
2
Autoharp
1
Trio à Cordes: 2 violons, violoncelle
1
Piano Trio: Violon, Alto, Piano
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Alto, Violoncelle (duo)
1
Trio à Cordes: 3 violoncelles
1
+ 21 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
261
Orchestre
108
Orchestre à Cordes
49
Ensemble de cuivres
43
Orchestre de chambre
18
Ensemble de Percussions
6
Ensemble Jazz
4
Batterie
2
Marimba
1
Percussion (partie séparée)
1
Conga
1
Piano et Orchestre
1
Jazz combo
1
Cloches
1
+ 9 instrumentations
Retracter
Autres
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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
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PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
543
PIANO & CLAVIERS
Piano seul
3 188
Piano, Voix
2 288
1 Piano, 4 mains
41
Piano, Voix et Guitare
20
Piano Facile
16
Orgue
13
2 Pianos, 4 mains
8
Piano Trio: piano, violon, violoncelle
7
Accompagnement Piano
6
Instruments en Do
5
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
2
Clavecin
1
Fake Book
1
Piano seul
3188
Piano, Voix
2288
1 Piano, 4 mains
41
Piano, Voix et Guitare
20
Piano Facile
16
Orgue
13
2 Pianos, 4 mains
8
Piano Trio: piano, violon, violoncelle
7
Accompagnement Piano
6
Instruments en Do
5
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
2
Clavecin
1
Fake Book
1
Instrumentations suivantes
Retracter
GUITARES
Guitare
25
Guitare notes et tablatures
7
2 Guitares (duo)
3
3 Guitares (trio)
2
4 Guitares (Quatuor)
2
Banjo
1
Mandoline
1
Mandoline, Guitare (duo)
1
Basse electrique
1
Ukulele
1
Dobro
1
Guitare
25
Guitare notes et tablatures
7
2 Guitares (duo)
3
3 Guitares (trio)
2
4 Guitares (Quatuor)
2
Banjo
1
Mandoline
1
Mandoline, Guitare (duo)
1
Basse electrique
1
Ukulele
1
Dobro
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
836
Chorale 3 parties
14
Chorale 2 parties
14
Chorale TTBB
13
Chorale Unison
6
Voix duo, Piano
6
Voix Soprano, Piano
4
Voix moyenne, Piano
3
Chorale SSAA
3
Voix Baryton, Piano
2
Chorale
2
Voix duo
2
Voix seule
2
Voix Tenor
1
Voix haute
1
Chorale SSATTB
1
Voix basse, Piano
1
Voix Mezzo-Soprano, Piano
1
Chorale SATB
836
Chorale 3 parties
14
Chorale 2 parties
14
Chorale TTBB
13
Chorale Unison
6
Voix duo, Piano
6
Voix Soprano, Piano
4
Voix moyenne, Piano
3
Chorale SSAA
3
Voix Baryton, Piano
2
Chorale
2
Voix duo
2
Voix seule
2
Voix Tenor
1
Voix haute
1
Chorale SSATTB
1
Voix basse, Piano
1
Voix Mezzo-Soprano, Piano
1
Instrumentations suivantes
Retracter
VENTS
Flûte, Hautbois, Clarinette, Basson
21
Saxophone Alto et Piano
17
Flûte traversière et Piano
17
Clarinette et Piano
16
Quatuor de Clarinettes: 4 clarinettes
16
Saxophone Soprano et Piano
12
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
12
Flûte traversière
10
Quatuor de Saxophones: 4 saxophones
10
Ensemble de Clarinettes
9
2 Flûtes traversières (duo)
8
Quintette de Saxophone: 5 saxophones
7
Hautbois, Piano (duo)
7
2 Clarinettes (duo)
6
2 Saxophones (duo)
6
Ensemble de saxophones
5
Saxophone Alto
5
Saxophone Tenor
5
Saxophone Tenor et Piano
5
Quatuor de Flûtes : 4 flûtes
5
Saxophone Soprano
4
Clarinette
4
2 Hautbois (duo)
4
Ensemble de Flûtes
4
Trio de Flûtes: 3 flûtes
3
Ocarina
3
Quintette de Clarinettes: 5 clarinettes
3
3 Saxophones (trio)
2
3 Clarinettes (trio)
2
Quintette de Flûte : 5 flûtes
2
2 Clarinettes, Piano
2
Flûte, Violon, Piano
2
Flûte, Hautbois, Piano (trio)
2
Clarinette, Violoncelle (duo)
1
2 Flûte à bec (duo)
1
Flûte, Clarinette, Piano (trio)
1
Harmonica
1
Ensemble De Flûte à bec
1
2 Saxophones, Piano
1
Quatuor de Flûtes à bec
1
Flûte et Guitare
1
Clarinette Basse, Piano
1
Flûte, Violoncelle
1
Flûte, Hautbois, Basson
1
Flûte, Hautbois, Clarinette, Basson
21
Saxophone Alto et Piano
17
Flûte traversière et Piano
17
Clarinette et Piano
16
Quatuor de Clarinettes: 4 clarinettes
16
Saxophone Soprano et Piano
12
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
12
Flûte traversière
10
Quatuor de Saxophones: 4 saxophones
10
Ensemble de Clarinettes
9
2 Flûtes traversières (duo)
8
Quintette de Saxophone: 5 saxophones
7
Hautbois, Piano (duo)
7
2 Clarinettes (duo)
6
2 Saxophones (duo)
6
Ensemble de saxophones
5
Saxophone Alto
5
Saxophone Tenor
5
Saxophone Tenor et Piano
5
Quatuor de Flûtes : 4 flûtes
5
Saxophone Soprano
4
Clarinette
4
2 Hautbois (duo)
4
Ensemble de Flûtes
4
Trio de Flûtes: 3 flûtes
3
Ocarina
3
Quintette de Clarinettes: 5 clarinettes
3
3 Saxophones (trio)
2
3 Clarinettes (trio)
2
Quintette de Flûte : 5 flûtes
2
2 Clarinettes, Piano
2
Flûte, Violon, Piano
2
Flûte, Hautbois, Piano (trio)
2
Clarinette, Violoncelle (duo)
1
2 Flûte à bec (duo)
1
Flûte, Clarinette, Piano (trio)
1
Harmonica
1
Ensemble De Flûte à bec
1
2 Saxophones, Piano
1
Quatuor de Flûtes à bec
1
Flûte et Guitare
1
Clarinette Basse, Piano
1
Flûte, Violoncelle
1
Flûte, Hautbois, Basson
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
22
Trompette
17
Quatuor de Cuivres : 2 trompettes, trombone, tuba
13
Trompette, Piano
11
Trombone et Piano
9
2 Trombones (duo)
7
2 Cors (duo)
7
2 Trompettes (duo)
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Quatuor de cuivres: 4 cors
5
Trombone
4
Tuba et Orgue
4
2 Tubas (duo)
4
Tuba et Piano
3
Cor et Piano
3
Ensemble de Trombones
2
3 Trompettes (trio)
2
Ensemble de Trompettes
2
Trompette, Trombone (duo)
1
Quatuor de Cuivres
1
3 Trombones (trio)
1
Cor (partie séparée)
1
Quatuor de cuivres: 4 trombones
1
Euphonium
1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
22
Trompette
17
Quatuor de Cuivres : 2 trompettes, trombone, tuba
13
Trompette, Piano
11
Trombone et Piano
9
2 Trombones (duo)
7
2 Cors (duo)
7
2 Trompettes (duo)
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Quatuor de cuivres: 4 cors
5
Trombone
4
Tuba et Orgue
4
2 Tubas (duo)
4
Tuba et Piano
3
Cor et Piano
3
Ensemble de Trombones
2
3 Trompettes (trio)
2
Ensemble de Trompettes
2
Trompette, Trombone (duo)
1
Quatuor de Cuivres
1
3 Trombones (trio)
1
Cor (partie séparée)
1
Quatuor de cuivres: 4 trombones
1
Euphonium
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
42
Violon et Piano
24
Harpe
13
Violon
13
Violoncelle, Piano
11
Trio à Cordes: violon, alto, violoncelle
9
Alto, Piano
9
Violoncelle
9
2 Violons (duo)
8
Violon (partie séparée)
6
2 Violoncelles (duo)
5
2 Altos (duo)
5
Contrebasse (partie séparée)
3
Contre Basse
2
Violoncelle (partie séparée)
2
Ensemble de Violons
2
Alto (partie séparée)
2
Alto seul
2
Violon, Alto (duo)
2
Violon, Violoncelle (duo)
2
Autoharp
1
Trio à Cordes: 2 violons, violoncelle
1
Piano Trio: Violon, Alto, Piano
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Alto, Violoncelle (duo)
1
Trio à Cordes: 3 violoncelles
1
Quatuor à cordes: 2 violons, alto, violoncelle
42
Violon et Piano
24
Harpe
13
Violon
13
Violoncelle, Piano
11
Trio à Cordes: violon, alto, violoncelle
9
Alto, Piano
9
Violoncelle
9
2 Violons (duo)
8
Violon (partie séparée)
6
2 Violoncelles (duo)
5
2 Altos (duo)
5
Contrebasse (partie séparée)
3
Contre Basse
2
Violoncelle (partie séparée)
2
Ensemble de Violons
2
Alto (partie séparée)
2
Alto seul
2
Violon, Alto (duo)
2
Violon, Violoncelle (duo)
2
Autoharp
1
Trio à Cordes: 2 violons, violoncelle
1
Piano Trio: Violon, Alto, Piano
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Alto, Violoncelle (duo)
1
Trio à Cordes: 3 violoncelles
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
261
Orchestre
108
Orchestre à Cordes
49
Ensemble de cuivres
43
Orchestre de chambre
18
Ensemble de Percussions
6
Ensemble Jazz
4
Batterie
2
Marimba
1
Percussion (partie séparée)
1
Conga
1
Piano et Orchestre
1
Jazz combo
1
Cloches
1
Orchestre d'harmonie
261
Orchestre
108
Orchestre à Cordes
49
Ensemble de cuivres
43
Orchestre de chambre
18
Ensemble de Percussions
6
Ensemble Jazz
4
Batterie
2
Marimba
1
Percussion (partie séparée)
1
Conga
1
Piano et Orchestre
1
Jazz combo
1
Cloches
1
Instrumentations suivantes
Retracter
AUTRES
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8151
Shades of Eltham (Eltham Concert Band - 35 Years of Music) - Concert Band Version Score and Parts PD
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.750863 Composed by Brendan Ellige…
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Concert Band - Level 3 - Digital Download SKU: A0.750863 Composed by Brendan Elliget MAGA 537. Contemporary. Score and parts. 123 pages. BJE Music #4319867. Published by BJE Music (A0.750863). Shades of Eltham (Eltham Concert Band - 35 Years of Music) - Concert Band VersionDedicated to Ern and Beattie Shade for their contribution to the Eltham Concert Band. The title of this piece is a play on words, of course, indicating both the Shades themselves and the various shades or moods of the music or even perhaps, the shady bushland setting of the area itself. I composed this piece with a few simple ideas in mind. The letters E and A in the word Eltham suggested to me an interval of a fourth, or the other way around, an interval of a fifth – which are both used in many of entries of the themes and musical motifs throughout the work – especially the brass. There are several variations and counter melodies within the work: a bright two-four march-like theme, probably the Main theme, and a variation of this theme in slower three-four time in a minor key with two counter melodies - representing a gentler contrasting mood. On occasions, two or even three themes play simultaneously. A bridging passage in four-four occurs about the two thirds into the composition leading up to a restatement of the main theme. The final climax or Coda actually has both three four melody against the two-four one resolving in the last few bars in a dramatic way.I hope you enjoy my musical tribute to the Shades. The MP3 was recorded with NotePerformer.Now available as an orchestral arrangement as well. See Related Scores.
$30.00
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Orchestre d'harmonie
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Brendan Elliget MAGA 537
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Shades of Eltham
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BJE Music
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SheetMusicPlus
Royal Winter Music
Guitare
Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Compo…
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Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Composed by Hans Werner Henze (1926-). This edition: Sheet music. Guitar Archive. Downloadable. Duration 25 minutes. Schott Music - Digital #Q4978. Published by Schott Music - Digital
My idea of developing music from Richard of Gloucester's monologue 'Now is the winter of our discontent', and of generating more music from that material, was conceived during the 1960s. Ten years later it took a more concrete form, when Julian Bream suggested to me that I should write a substanial new guitar work for him. More time went by, and only having finished 'We Come to the River' could I begin to realise our plan. Then began a collaboration with the instrumentalist that went through various phases, from which I gained a more profound knowledge of the technicalities and of the sound-world of the guitar. I would even go so far as to say that this collaboration gave me a new concept of how to write for an instrument with a rich tradition. The guitar is a 'knowing' or 'knowledgeable' instrument, with many limitations but also many unexplored spaces and depths within these limits. It possesses a richness of sound capable of embracing everything one might find in a gigantic contemporary orchestra. but one has to start from silence in order to notice this: one has to pause, and completely exclude noise.<br> The dramatis personae of this piece enter through the sound of the guitar as if it were curtain. Through masks, voices and gestures, they speak to us of great passion, of tenderness, sadness and comedy: strange events in people's lives. Into this, the whispering voices of spirits are mingled. The epilogue is spoken by Oberon, pacified and reconciled, as though Nature had been subjected to Man.<br> - Hans Werner Henze.My idea of developing music from Richard of Gloucester's monologue 'Now is the winter of our discontent', and of generating more music from that material, was conceived during the 1960s. Ten years later it took a more concrete form, when Julian Bream suggested to me that I should write a substanial new guitar work for him. More time went by, and only having finished 'We Come to the River' could I begin to realise our plan. Then began a collaboration with the instrumentalist that went through various phases, from which I gained a more profound knowledge of the technicalities and of the sound-world of the guitar. I would even go so far as to say that this collaboration gave me a new concept of how to write for an instrument with a rich tradition. The guitar is a 'knowing' or 'knowledgeable' instrument, with many limitations but also many unexplored spaces and depths within these limits. It possesses a richness of sound capable of embracing everything one might find in a gigantic contemporary orchestra. but one has to start from silence in order to notice this: one has to pause, and completely exclude noise.<br> The dramatis personae of this piece enter through the sound of the guitar as if it were curtain. Through masks, voices and gestures, they speak to us of great passion, of tenderness, sadness and comedy: strange events in people's lives. Into this, the whispering voices of spirits are mingled. The epilogue is spoken by Oberon, pacified and reconciled, as though Nature had been subjected to Man.<br> - Hans Werner Henze.
$19.99
18.33 €
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Guitare
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Hans Werner Henze
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Royal Winter Music
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Schott Music - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Guitar Compendium
Guitare
Technique / improvisation / musicianship / theory. This edition: method. Instrumenta…
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Technique / improvisation / musicianship / theory. This edition: method. Instrumentalunterricht, Gitarre, Theorie. The Praxis System. Downloadable. Op. Vol. 1. Advance Music #Q54672. Published by Advance Music
English.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, orEnglish.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or
$23.99
22 €
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Guitare
#
Guitar Compendium
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Advance Music
#
SheetMusicPlus
Piano Songbook
Piano seul
Piano - easy to intermediate - Digital Download Composed by Martin Stadtfeld. This ed…
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Piano - easy to intermediate - Digital Download Composed by Martin Stadtfeld. This edition: single sheet. Downloadable. Schott Music - Digital #Q54651. Published by Schott Music - Digital
The official sheet music edition of the same-named CD album Piano Songbook (Sony Classical). Includes arrangements and fantasies of popular works, ranging from baroque to romantic as well as own compositions by Martin Stadtfeld. Easy to intermediate difficulty - ideal for young pianists and returnees to the piano.<br> <br> The works collected in this volume have accompanied me through my life. In difficult times, this music gives me stability and certainty.<br> <br> The arrangements are partly free and subjective and distil what is essential for me. The motto was: as few notes as possible. This was also what I aspired to achieve in my 10 compositions in the third part. This means that most pieces can be used in piano lessons. Even those who return to the piano after a long time can pick up where they left off with these pieces. I hope that many people playing them will feel what I felt when making this volume: contemplation, absorption, inner strength.<br> <br> (Martin Stadtfeld)The official sheet music edition of the same-named CD album Piano Songbook (Sony Classical). Includes arrangements and fantasies of popular works, ranging from baroque to romantic as well as own compositions by Martin Stadtfeld. Easy to intermediate difficulty - ideal for young pianists and returnees to the piano.<br> <br> The works collected in this volume have accompanied me through my life. In difficult times, this music gives me stability and certainty.<br> <br> The arrangements are partly free and subjective and distil what is essential for me. The motto was: as few notes as possible. This was also what I aspired to achieve in my 10 compositions in the third part. This means that most pieces can be used in piano lessons. Even those who return to the piano after a long time can pick up where they left off with these pieces. I hope that many people playing them will feel what I felt when making this volume: contemplation, absorption, inner strength.<br> <br> (Martin Stadtfeld)
$23.99
22 €
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Piano seul
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Martin Stadtfeld
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Piano Songbook
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Schott Music - Digital
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SheetMusicPlus
Jingle Bells - Concert Band Score and Parts PDF
Orchestre d'harmonie
Composed by James Pierpont 1857. Arranged by Brendan Elliget MAGA 537. Christmas. Sc…
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Composed by James Pierpont 1857. Arranged by Brendan Elliget MAGA 537. Christmas. Score and parts. 39 pages. BJE Music #3604371. Published by BJE Music
$15.00
13.76 €
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Orchestre d'harmonie
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James Pierpont 1857
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Brendan Elliget MAGA 537
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Jingle Bells - Concert Band Score and Parts PDF
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BJE Music
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SheetMusicPlus
Happy Birthday - Concert Band Score and Parts PDF
Orchestre
Full Orchestra - Level 2 - Digital Download Composed by Mildred J. Hill (1893). Arran…
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Full Orchestra - Level 2 - Digital Download Composed by Mildred J. Hill (1893). Arranged by Brendan Elliget MAGA 537. Holiday. Score and parts. 39 pages. BJE Music #4366386. Published by BJE Music
$10.00
9.17 €
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Orchestre
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Mildred J
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Brendan Elliget MAGA 537
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Happy Birthday - Concert Band Score and Parts PDF
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BJE Music
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SheetMusicPlus
Auld Lang Syne - Orchestra Score and Parts
Orchestre
Full Orchestra - Level 2 - Digital Download Composed by Traditional. Arranged by Bren…
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Full Orchestra - Level 2 - Digital Download Composed by Traditional. Arranged by Brendan Elliget MAGA 537. Holiday. Score and parts. 37 pages. BJE Music #5017611. Published by BJE Music
$20.00
18.34 €
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Orchestre
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Traditional
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Brendan Elliget MAGA 537
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Auld Lang Syne - Orchestra Score and Parts
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BJE Music
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SheetMusicPlus
Thine Be The Glory (MACCABEUS) - Full Orchestra/ Concert Band with Optional Piano
Orchestre
Full Orchestra - Level 3 - Digital Download By Brendan James Elliget. By G. F. Handel…
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Full Orchestra - Level 3 - Digital Download By Brendan James Elliget. By G. F. Handel. Arranged by Brendan James Elliget MAGA 537. Easter, Praise & Worship, Sacred, Wedding. Score and parts. 40 pages. BJE Music #652019. Published by BJE Music
$25.00
22.93 €
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Orchestre
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Brendan James Elliget
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Worship, Sacred, Wedding
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Thine Be The Glory
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BJE Music
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SheetMusicPlus
The Skye Boat Song - Orchestra Score and Parts
Orchestre
Composed by Traditional Scottish Tune. Arranged by Brendan Elliget MAGA 537. Folk. S…
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Composed by Traditional Scottish Tune. Arranged by Brendan Elliget MAGA 537. Folk. Score and parts. 38 pages. BJE Music #6358777. Published by BJE Music
"The Skye Boat Song" is a late 19th-century Scottish song recalling the journey of Prince Charles Edward Stuart (Bonnie Prince Charlie) from Benbecula to the Isle of Skye as he evaded capture by government troops after his defeat at the Battle of Culloden in 1746. A song of bitter loss and despair, which still manages to find a ray of hope in the fact that Charlie escaped and will "rise again".<br> <br> It is arranged here for an Orchestra with optional parts for Clarinet 3, Euphonium, and Piano (Chorded).<br> <br> The MP3 was recorded with NotePerformer 3.<br> <br> ​Grade = 3.5 Duration = 3:30 mins."The Skye Boat Song" is a late 19th-century Scottish song recalling the journey of Prince Charles Edward Stuart (Bonnie Prince Charlie) from Benbecula to the Isle of Skye as he evaded capture by government troops after his defeat at the Battle of Culloden in 1746. A song of bitter loss and despair, which still manages to find a ray of hope in the fact that Charlie escaped and will "rise again".<br> <br> It is arranged here for an Orchestra with optional parts for Clarinet 3, Euphonium, and Piano (Chorded).<br> <br> The MP3 was recorded with NotePerformer 3.<br> <br> ​Grade = 3.5 Duration = 3:30 mins.
$25.00
22.93 €
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Orchestre
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Traditional Scottish Tune
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Brendan Elliget MAGA 537
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The Skye Boat Song - Orchestra Score and Parts
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BJE Music
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SheetMusicPlus
Wichita Lineman
Orchestre d'harmonie
By Glen Campbell. By Jimmy Webb. Arranged by Brendan James Elliget MAGA 537. Contemp…
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By Glen Campbell. By Jimmy Webb. Arranged by Brendan James Elliget MAGA 537. Contemporary, Pop. Score and parts. 47 pages. BJE Music #517950. Published by BJE Music
$50.00
45.86 €
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Orchestre d'harmonie
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Glen Campbell
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Wichita Lineman
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BJE Music
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SheetMusicPlus
Simple Gifts - Concert Band
Orchestre d'harmonie
By Brendan James Elliget MAGA 537 NotePerformer 3. By Elder Joseph Bracket 1848. Arran…
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By Brendan James Elliget MAGA 537 NotePerformer 3. By Elder Joseph Bracket 1848. Arranged by Brendan James Elliget MAGA 537. Contemporary, Folk. Score and parts. 63 pages. BJE Music #684566. Published by BJE Music
$25.00
22.93 €
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Orchestre d'harmonie
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Brendan James Elliget MAGA 537 NotePerformer 3
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Simple Gifts - Concert Band
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BJE Music
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SheetMusicPlus
Brahms' Lullaby - Clarinet Quintet or Group Score and Parts PDF
Quintette de Clarinettes: 5 clarinettes
Composed by Johannes Brahms (1868). Arranged by Brendan Elliget MAGA 537. Children, …
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Composed by Johannes Brahms (1868). Arranged by Brendan Elliget MAGA 537. Children, Romantic Period. 9 pages. BJE Music #6087933. Published by BJE Music
$5.50
5.04 €
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Quintette de Clarinettes: 5 clarinettes
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Johannes Brahms (1868)
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Brendan Elliget MAGA 537
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Brahms' Lullaby - Clarinet Quintet or Group Score and Parts PDF
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BJE Music
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SheetMusicPlus
I Vow to Thee My Country (Jupiter) - Concert Band/Orchestra
Orchestre d'harmonie
By Brendan James Elliget. By Gustav Holst (1874-1934). Arranged by Brendan James Ell…
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By Brendan James Elliget. By Gustav Holst (1874-1934). Arranged by Brendan James Elliget. Patriotic. Score and parts. 46 pages. BJE Music #486181. Published by BJE Music
$25.00
22.93 €
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Orchestre d'harmonie
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Brendan James Elliget
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Brendan James Elliget
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I Vow to Thee My Country
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BJE Music
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SheetMusicPlus
Olive Tree
Orchestre
Composed by Diane Charlotte Lampert and Tom Springfield. Arranged by Brendan James E…
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Composed by Diane Charlotte Lampert and Tom Springfield. Arranged by Brendan James Elliget MAGA 537. 20th Century, Pop. Score and parts. 35 pages. BJE Music #709393. Published by BJE Music
$50.00
45.86 €
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Orchestre
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Diane Charlotte Lampert and Tom Springfield
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Olive Tree
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BJE Music
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SheetMusicPlus
Zip-a-dee-doo-dah
Orchestre d'harmonie
Composed by Allie Wrubel. Arranged by Brendan Elliget MAGA 537. Contemporary. Score …
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Composed by Allie Wrubel. Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 42 pages. BJE Music #6527273. Published by BJE Music
$49.99
45.85 €
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Orchestre d'harmonie
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Allie Wrubel
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Brendan Elliget MAGA 537
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Zip-a-dee-doo-dah
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BJE Music
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SheetMusicPlus
Grown-up Christmas List
Orchestre d'harmonie
By Amy Grant. By David "Babyface" Foster and Linda Thompson-Jenner. Arranged…
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By Amy Grant. By David "Babyface" Foster and Linda Thompson-Jenner. Arranged by Brendan Elliget MAGA 537. Christian, Contemporary. Score and parts. 47 pages. BJE Music #6565225. Published by BJE Music
$49.99
45.85 €
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Orchestre d'harmonie
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Amy Grant
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Brendan Elliget MAGA 537
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Grown-up Christmas List
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BJE Music
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SheetMusicPlus
The Boar's Head Carol - Concert Band Score and Parts PDF
Orchestre d'harmonie
Composed by Traditional English Carol. Arranged by Brendan Elliget MAGA 537. Christm…
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Composed by Traditional English Carol. Arranged by Brendan Elliget MAGA 537. Christmas. Score and parts. 36 pages. BJE Music #6531383. Published by BJE Music
$25.00
22.93 €
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Orchestre d'harmonie
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Traditional English Carol
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Brendan Elliget MAGA 537
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The Boar's Head Carol - Concert Band Score and Parts PDF
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BJE Music
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SheetMusicPlus
The Christmas Clock - Concert Band
Orchestre d'harmonie
By Brendan James Elliget MAGA 537 NotePerformer 3. By Brendan James Elliget MAGA 537…
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By Brendan James Elliget MAGA 537 NotePerformer 3. By Brendan James Elliget MAGA 537. Arranged by Brendan James Elliget MAGA 537. Christmas, Classical, Contemporary. Score and parts. 39 pages. BJE Music #704377. Published by BJE Music
$25.00
22.93 €
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Orchestre d'harmonie
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Brendan James Elliget MAGA 537 NotePerformer 3
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The Christmas Clock - Concert Band
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BJE Music
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SheetMusicPlus
Blow The Wind Southerly - Concert Band
Orchestre d'harmonie
By Brendan James Elliget MAGA 537 NotePerformer 3. By Brendan James Elliget MAGA 537…
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By Brendan James Elliget MAGA 537 NotePerformer 3. By Brendan James Elliget MAGA 537. Arranged by Brendan James Elliget MAGA 537. Celtic, Folk, Irish. Score and parts. 57 pages. BJE Music #705630. Published by BJE Music
$25.00
22.93 €
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Orchestre d'harmonie
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Brendan James Elliget MAGA 537 NotePerformer 3
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Blow The Wind Southerly - Concert Band
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BJE Music
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SheetMusicPlus
Brown Slouch Hat
Orchestre d'harmonie
By George Wallace. By George Wallace. Arranged by Brendan Elliget MAGA 537. Contempo…
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By George Wallace. By George Wallace. Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 45 pages. BJE Music #6718533. Published by BJE Music
$49.99
45.85 €
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Orchestre d'harmonie
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George Wallace
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Brendan Elliget MAGA 537
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Brown Slouch Hat
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BJE Music
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SheetMusicPlus
Tamino's Aria (From the Magic Flute) - Woodwind Trio
By Brendan James Elliget NotePerformer 3. By Wolfgang Amadeus Mozart (1756-1791). Ar…
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By Brendan James Elliget NotePerformer 3. By Wolfgang Amadeus Mozart (1756-1791). Arranged by Brendan James Elliget MAGA 537. Classical. 6 pages. BJE Music #644747. Published by BJE Music
$4.50
4.13 €
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Brendan James Elliget NotePerformer 3
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Tamino's Aria
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BJE Music
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SheetMusicPlus
I Still Call Australia Home
Ensemble de cuivres
Composed by Peter Allen. Arranged by Brendan Elliget MAGA 537. Contemporary. Score a…
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Composed by Peter Allen. Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 67 pages. BJE Music #6142637. Published by BJE Music
$45.00
41.27 €
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Ensemble de cuivres
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Peter Allen
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Brendan Elliget MAGA 537
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I Still Call Australia Home
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BJE Music
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SheetMusicPlus
Going Home
Orchestre d'harmonie
By Mark Knopfler. By Mark Knopfler. Arranged by Brendan Elliget MAGA 537. Rock. Score …
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By Mark Knopfler. By Mark Knopfler. Arranged by Brendan Elliget MAGA 537. Rock. Score and parts. 83 pages. BJE Music #6493495. Published by BJE Music
$49.99
45.85 €
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Orchestre d'harmonie
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Mark Knopfler
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Brendan Elliget MAGA 537
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Going Home
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BJE Music
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SheetMusicPlus
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