English version
Parcourir Free-scores.com
--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
Red Pen Music
Non classifié
1 739
Piano & claviers
Piano seul
742
Piano, Voix
339
Orgue
135
Piano, Voix et Guitare
134
Piano Facile
119
Instruments en Do
77
Accompagnement Piano
37
Piano (partie séparée)
26
2 Pianos, 4 mains
24
1 Piano, 4 mains
19
Piano Trio: piano, violon, violoncelle
12
Orgue, Trompette (duo)
7
Piano Quatuor: piano, violon, alto, violoncelle
5
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Clavier
3
Piano grosses notes
3
Orgue, Piano (duo)
3
Piano Quatuor: piano, 2 violons, violoncelle
2
2 Pianos, 8 mains
1
Accordéon
1
Fake Book
1
+ 16 instrumentations
Retracter
Guitares
Guitare notes et tablatures
100
Guitare
72
Guitare (partie séparée)
50
Ligne De Mélodie, (Paroles) et Accords
35
Basse electrique
12
Piano, Guitare (duo)
7
Ukulele
6
Mandoline
4
Paroles et Accords
4
4 Guitares (Quatuor)
3
2 Guitares (duo)
3
Banjo
2
Dulcimer
1
Ensemble de guitares
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
852
Chorale 3 parties
241
Chorale 2 parties
173
Chorale Unison
87
Voix duo, Piano
56
Chorale TTBB
45
Voix Soprano, Piano
36
Voix Baryton, Piano
32
Chorale SSAA
31
Voix Alto, Piano
29
Voix Tenor, Piano
28
Voix duo
23
Voix basse, Piano
10
Voix seule
9
Voix haute
8
Chorale
8
Voix moyenne, Piano
3
Voix basse
2
Voix Tenor
2
Chorale SSAATTBB
2
Chorale SSATB
1
Voix Mezzo-Soprano, Piano
1
Voix, Guitare
1
Soli, choeur mixte et accompagnement
1
Voix Soprano
1
+ 20 instrumentations
Retracter
Vents
Saxophone (partie séparée)
188
Clarinette (partie séparée)
74
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
74
Quatuor de Saxophones: 4 saxophones
73
Flûte traversière et Piano
66
Flûte, Hautbois, Clarinette, Basson
52
Hautbois, Piano (duo)
48
Clarinette et Piano
47
Saxophone Alto et Piano
45
Quatuor de Clarinettes: 4 clarinettes
43
Quintette de Saxophone: 5 saxophones
43
Flûte traversière
40
Flute (partie séparée)
39
Flûte, Violon, Piano
35
Saxophone Tenor et Piano
33
Hautbois (partie séparée)
32
Clarinette
31
2 Saxophones (duo)
29
Ensemble de saxophones
26
Saxophone Alto
25
Ensemble de Clarinettes
24
Saxophone Tenor
24
Quatuor de Flûtes : 4 flûtes
18
Saxophone Soprano et Piano
17
2 Flûtes traversières (duo)
16
Quintette de Clarinettes: 5 clarinettes
15
Ensemble de Flûtes
14
3 Saxophones (trio)
13
Saxophone Soprano
11
Trio de Flûtes: 3 flûtes
10
2 Clarinettes (duo)
10
Saxophone Baryton, Piano
9
Quintette de Flûte : 5 flûtes
9
3 Clarinettes (trio)
8
Hautbois
8
Ocarina
8
Cor anglais, Piano
7
Clarinette Basse, Piano
7
Flûte à bec Soprano
7
Flûte à bec Alto
6
Flûte, Clarinette (duo)
6
Saxophone, Clarinette (duo)
6
Hautbois, Clarinette, Basson (trio d'anches)
6
2 Flûte à bec (duo)
6
Flûte, Clarinette et Basson
5
Clarinette, Violon (duo)
4
Flûte, Hautbois, Clarinette (trio)
4
Harmonica
3
Flûte et Guitare
3
3 Flûtes à bec (trio)
3
Saxophone et Harpe
2
Flûte, Saxophone (duo)
2
Clarinette, Basson (duo)
2
Flûte, Violon, Violoncelle et Piano
2
Ensemble à vent
2
2 Clarinettes, Piano
2
Flute, harpe et violon
2
Clarinette, Trompette (duo)
2
Saxophone et Orgue
2
Ensemble De Flûte à bec
2
Flûte, Violon
2
Flûte irlandaise
2
Flûte à Bec
2
Clarinette, Guitare (duo)
2
Flûte, Clarinette, Piano (trio)
2
Flûte, Violoncelle
2
Flûte traversière, Orgue (duo)
1
Flûte à bec Alto, Piano
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Piccolo, Piano
1
Flûte, Violoncelle, Piano (trio)
1
5 Flûtes à bec
1
2 Hautbois (duo)
1
Clarinette et Alto
1
Saxophone
1
Quatuor de Flûtes à bec
1
Clarinette, Harpe (duo)
1
Flûte, Harpe et Violoncelle
1
Hautbois, Clarinette (duo)
1
Flûte, Trompette (duo)
1
2 Clarinettes, Basson
1
Clarinette, Orgue
1
Hautbois, Guitare (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte à bec Tenor
1
Hautbois, Basson (duo)
1
Flûte à Bec, Piano
1
Flûte à bec Soprano, Piano
1
+ 83 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
195
Trompette (partie séparée)
161
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
106
Quatuor de Cuivres : 2 trompettes, trombone, tuba
80
Trompette
55
Cor (partie séparée)
53
Trombone et Piano
44
Tuba (partie séparée)
41
Trompette, Piano
36
Cor et Piano
31
Trombone
21
Quatuor de Cuivres: 2 trompettes, Cor, trombone
19
Quatuor de cuivres: 4 trombones
19
Cor
14
Tuba et Piano
12
Ensemble de Trompettes
12
Ensemble de Trombones
11
2 Trompettes (duo)
10
Cor anglais, Piano
7
Tuba
7
Euphonium, Piano (duo)
7
Quatuor de Cuivres
6
4 Tubas
5
2 Trombones (duo)
5
Ensemble de Cors
4
2 Tubas (duo)
3
Quatuor de cuivres: 4 trompettes
3
Trombone, Cor (duo)
2
Trompette, Trombone, Piano
2
Trompette, Trombone (duo)
2
3 Trombones (trio)
2
Quatuor de cuivres: 4 cors
2
Cor et Harpe
2
2 Cors (duo)
2
3 Tubas (trio)
1
Trompette, Saxophone (duo)
1
Trompette, Cor (duo)
1
2 Cors, Piano
1
Trombone, Orgue
1
Trombone basse et Piano
1
Trompette, Harpe
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trompette, Euphonium (duo)
1
2 Euphoniums et 2 Tubas
1
+ 39 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
168
Violon et Piano
104
Violon (partie séparée)
95
Alto, Piano
70
Contrebasse (partie séparée)
67
Violon
60
Violoncelle, Piano
53
Violoncelle
43
Alto (partie séparée)
26
Trio à Cordes: violon, alto, violoncelle
23
Violon, Violoncelle (duo)
22
Alto seul
22
Harpe
22
2 Violons (duo)
20
Violoncelle (partie séparée)
20
Violon, Alto (duo)
13
Contrebasse, Piano (duo)
11
Contre Basse
11
2 Violoncelles (duo)
11
Trio à Cordes: 2 violons, violoncelle
10
2 Altos (duo)
6
Ensemble de Violons
6
2 Harpes (duo)
6
Harpe, Flûte (duo)
5
Ensemble d'Altos
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Trio à Cordes: 3 violoncelles
3
Harpe, Voix
3
Trio à cordes: 3 violins
3
4 Violoncelles
3
Alto, Orgue
2
Trio à cordes: 3 altos
2
Quatuor à cordes: 4 violons
2
Violoncelle, Orgue
2
Alto et Harpe
2
Piano Trio: Violon, Alto, Piano
2
Alto, Violoncelle (duo)
2
Quatuor à cordes : 4 altos
2
4 Contrebasses
1
Harpe et Piano
1
Violoncelle, Orchestre
1
Trio à Cordes: 2 violons, alto
1
Harpe, Violoncelle (duo)
1
Harpe, Violon (duo)
1
Alto et orchestre
1
+ 40 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
3 356
Fanfare
359
Orchestre
278
Orchestre à Cordes
228
Ensemble Jazz
127
Cloches
60
Orchestre de chambre
59
Percussion (partie séparée)
56
Ensemble de cuivres
47
Jazz combo
29
Batterie (partie séparée)
28
Ensemble de Percussions
11
Batterie
7
Timbales (partie séparée)
6
Marimba
4
Vibraphone
4
Percussion
4
Instrumentation Flexible
3
Ensemble d'École
3
Piano et Orchestre
2
Caisse Claire
1
Vibraphone et Marimba
1
Orchestre, Violon
1
Quintette de Cuivres: autres combinaisons
1
+ 19 instrumentations
Retracter
Autres
Formation musicale - Solfège
1
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions Gratuites
2 475
Partitions Numériques
13 489
Librairie Musicale
7 602
Matériel de Musique
819
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
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
Vous avez sélectionné:
Red Pen Music
Partitions à imprimer
13 489 partitions trouvées
<
1
26
51
....
9976
Fred Bock's Greatest Gospel Hits
Orgue
Organ SKU: HL.8738380 For All Organs. Composed by Fred Bock. Arranged by Fre…
(+)
Organ SKU: HL.8738380 For All Organs. Composed by Fred Bock. Arranged by Fred Bock. Organ. Fred Bock Publications. General Worship, Sacred. 144 pages. Fred Bock Music Company #BG0605. Published by Fred Bock Music Company (HL.8738380). ISBN 9781934596319. UPC: 073999239201. 9.3x12.0x0.496 inches.This volume includes 43 of the best-loved gospel songs - all arranged in the sought-after stylings of Fred Bock. It contains such tunes as: Blessed Assurance * Happiness Is the Lord * Ivory Palaces * The Love of God * and many more. Spiral bound.
Song List: Amazing Grace (Newton) Battle Hymn Of The Republic Every Time I Feel The Spirit Born Again (Bock) Come, Holy Spirit (Bock) Springs of Living Water (Arr: F Bock) (John Peterson) He's Got The Whole World In His Hands To God Be the Glory (Fanny Crosby) In the Garden (C. Austin Miles) Swing Low, Sweet Chariot Just A Closer Walk With Thee Blessed Assurance His Eye Is On The Sparrow Thou Didst Leave Thy Throne Great Is Thy Faithfulness (Wm. Runyan) How Big Is God (S Hamblen) Happiness Is the Lord (Ira Stanphill) I Believe in Miracles (John Peterson) Until Then (Stuart Hemblen) Am I A Soldier of the Cross? (Arr: F Bock) To Be Free (Eddie Smith) It Took A Miracle (John Peterson) Now I Belong to Jesus (Norman Clayton) I Just Feel Like Something Good Is About to Happen(Wm Gaither) In Times Like These (Ruth Jones) He Is the Way, He Is the Truth, He Is the Life (Otis Skillings) Have You Any Room for Jesus? (C. C. Williams) All He Wants Is You (Audrey Mieir) Constantly Abiding (Mrs. Will Murphy) Teach Me, Lord, to Wait (S Hamblen) Ivory Palaces (H Barraclough) This Ole House (S Hamblen) Something Beautiful (Wm Gaither) Beyond the Sunset (Blanche & Virgil Brock) Holy Hands (Carl Farrer) No More (A Mieir) OLD RUGGED CROSS MADE THE DIFFERENCE, THE (BOCK) LOVE OF GOD, THE (FREDERICK H LEHMAN) OLD RUGGED CROSS, THE (G BENNARD) LONGER I SERVE HIM, THE (WM. GAITHER) BROKEN VESSEL, THE (ANDREA CROUCH) SPIRIT OF JESUS IS IN THIS PLACE, THE (W GAITHER) LORD IS COUNTING ON YOU, THE (S HAMBLEN)
Song List
: Amazing Grace (Newton) Battle Hymn Of The Republic Every Time I Feel The Spirit Born Again (Bock) Come, Holy Spirit (Bock) Springs of Living Water (Arr: F Bock) (John Peterson) He's Got The Whole World In His Hands To God Be the Glory (Fanny Crosby) In the Garden (C. Austin Miles) Swing Low, Sweet Chariot Just A Closer Walk With Thee Blessed Assurance His Eye Is On The Sparrow Thou Didst Leave Thy Throne Great Is Thy Faithfulness (Wm. Runyan) How Big Is God (S Hamblen) Happiness Is the Lord (Ira Stanphill) I Believe in Miracles (John Peterson) Until Then (Stuart Hemblen) Am I A Soldier of the Cross? (Arr: F Bock) To Be Free (Eddie Smith) It Took A Miracle (John Peterson) Now I Belong to Jesus (Norman Clayton) I Just Feel Like Something Good Is About to Happen(Wm Gaither) In Times Like These (Ruth Jones) He Is the Way, He Is the Truth, He Is the Life (Otis Skillings) Have You Any Room for Jesus? (C. C. Williams) All He Wants Is You (Audrey Mieir) Constantly Abiding (Mrs. Will Murphy) Teach Me, Lord, to Wait (S Hamblen) Ivory Palaces (H Barraclough) This Ole House (S Hamblen) Something Beautiful (Wm Gaither) Beyond the Sunset (Blanche & Virgil Brock) Holy Hands (Carl Farrer) No More (A Mieir) OLD RUGGED CROSS MADE THE DIFFERENCE, THE (BOCK) LOVE OF GOD, THE (FREDERICK H LEHMAN) OLD RUGGED CROSS, THE (G BENNARD) LONGER I SERVE HIM, THE (WM. GAITHER) BROKEN VESSEL, THE (ANDREA CROUCH) SPIRIT OF JESUS IS IN THIS PLACE, THE (W GAITHER) LORD IS COUNTING ON YOU, THE (S HAMBLEN)
$24.95
22.96 €
#
Orgue
#
Fred Bock
#
Fred Bock
#
Fred Bock's Greatest Gospel Hits
#
Fred Bock Music Company
#
SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download Minor: Dominant and Subdominant Tri…
(+)
Voice, recorder and percussion - Digital Download Minor: Dominant and Subdominant Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orff- Schulwerk. Downloadable. Op. 5. Schott Music - Digital #Q49516. Published by Schott Music - Digital
English.<br> <br> Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided. it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fifth volume: Songs and pieces making further use of the modes introduced in Vol. 4, with the addition of the more usual forms of the minor scale with the sharpened seventh. The settings of short dramatic scenes concludes the book.English.<br> <br> Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided. it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fifth volume: Songs and pieces making further use of the modes introduced in Vol. 4, with the addition of the more usual forms of the minor scale with the sharpened seventh. The settings of short dramatic scenes concludes the book.
$21.99
20.24 €
#
Music for Children
#
Schott Music - Digital
#
SheetMusicPlus
Dirt Simple Electric Guitar Solos on Open Strings
Guitar (rock & blues) - Beginning-Intermediate - Digital Download SKU: M0.30701MEB …
(+)
Guitar (rock & blues) - Beginning-Intermediate - Digital Download SKU: M0.30701MEB Composed by Sven Nier. Dirt Simple. Rock. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30701MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30701MEB). ISBN 9781619118225. 8.75x11.75 inches.This guitar method focuses on playing engaging rhythmic themes entirely on open strings. What seems at first to be a simple task quickly becomes a real challenge, requiring a high level of accuracy and an excellent sense of rhythm. While the picking hand can only play what the other hand has prepared, nothing musical will happen unless you pluck the right string. Sven Nier’s exercises and tunes offer motivating, effective training to facilitate hitting the correct string with precision, winning half the coordination battle. While the audio examples are recorded on an electric instrument, guitar teachers and beginning students in all styles will appreciate this innovative book. Includes access to outstanding play-along online audio with and without the solo part.
$9.99
9.19 €
#
Sven Nier
#
font-size: 13px
#
Dirt Simple Electric Guitar Solos on Open Strings
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
The Organ Music of Leo Sowerby - Volume 4
Orgue
Organ SKU: HL.8738408 Festival * Magnificat * Pageant of Autumn * Two Sketches
(+)
Organ SKU: HL.8738408 Festival * Magnificat * Pageant of Autumn * Two Sketches. Composed by Leo Sowerby. Organ. Fred Bock Publications. General Worship, Sacred. 64 pages. Fred Bock Music Company #BG0940. Published by Fred Bock Music Company (HL.8738408). ISBN 9781495078163. UPC: 073999605273. 9.0x12.0x0.202 inches.The final book in the series includes Festival, featured at the opening concert of the AGO convention in New York City by Todd Wilson at St. Patrick's Cathedral, which has never before been published. Magnificat is also published here for the first time. Medium advanced difficulty.
$18.95
17.44 €
#
Orgue
#
Leo Sowerby
#
The Organ Music of Leo Sowerby - Volume 4
#
Fred Bock Music Company
#
SheetMusicPlus
On Opened Ground
Alto et orchestre
Viola and orchestra - difficult - Digital Download Concerto for viola and orchestra. …
(+)
Viola and orchestra - difficult - Digital Download Concerto for viola and orchestra. Composed by Mark- Anthony Turnage (1960-). This edition: piano reduction with solo part. Downloadable. Duration 25 minutes. Schott Music - Digital #Q6951. Published by Schott Music - Digital
Mark Anthony Turnage, who celebrates his 50th birthday this summer, composed On Opened Ground for one of the world's most celebrated viola soloists, Yuri Bashmet, and the Cleveland Orchestra. The title pays homage to Seamus Heaney whose collected poems were published under the tile Opened Ground in 1998. Throughout the work the opening motif, heard in the viola - a rapid gesture marked 'rough and aggressive' - undergoes various transformations in shape and character, becoming 'warm and intense' and finally 'muted and distant' at the end of the work.Mark Anthony Turnage, who celebrates his 50th birthday this summer, composed On Opened Ground for one of the world's most celebrated viola soloists, Yuri Bashmet, and the Cleveland Orchestra. The title pays homage to Seamus Heaney whose collected poems were published under the tile Opened Ground in 1998. Throughout the work the opening motif, heard in the viola - a rapid gesture marked 'rough and aggressive' - undergoes various transformations in shape and character, becoming 'warm and intense' and finally 'muted and distant' at the end of the work.
$33.99
31.28 €
#
Alto et orchestre
#
Mark- Anthony Turnage
#
On Opened Ground
#
Schott Music - Digital
#
SheetMusicPlus
En Face Du Miroir (Facing The Mirror)
Piano seul
Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, …
(+)
Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, Jazz, Recital, Americana, New Age. Sheet Music Single. 11 pages. Published by Mainya Music Publishing (BMI)
Contains:<br> "En Face Du Miroir (Facing The Mirror)"<br> - taken from the Isadar solo piano complete collection, "Red" (also available on SMP)<br> <br> Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists<br> <br> Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording<br> <br> Album & Songbook Review by: Kathy Parsons<br> <br> Red is pianist/composer Isadar’s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar’s best piano pieces; O Christmas, Isadar’s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.<br> <br> I have been reviewing and thoroughly enjoying Isadar’s releases since his second piano album, 1999’s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar’s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.<br> <br> Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar’s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.<br> <br> Red opens with “Broken Valentine,” a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. “The Man Who Broke My Heart” is energetic and in constant swirling motion - also very free and from deep within. “The Stairwell” is darker and much more mysterious, overflowing with Isadar’s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute “Letting Go,” a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! “En Face Du Miroir (Facing the Mirror)” is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with “Blood ... Thicker Than Water,” again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.<br> <br> Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!<br> <br> Isadar’s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar’s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.<br> <br> Isadar is an amazing pianist with a style all his own, so this isn’t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.<br> <br> Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9”x12” format with a stapled binding.<br> <br> If you enjoy listening to Isadar’s music, I’m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!<br> <br> The songs with their key signatures and the number of pages is listed below:<br> <br> Broken Valentine - C minor (3 flats) - 4 pages<br> Red - A minor (0 sharps or flats) - 5 pages<br> The Man Who Broke My Heart - A minor - 6 pages<br> The Stairwell - F# minor (3 sharps) - 7 pages<br> Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages<br> En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages<br> Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages<br> <br> Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...<br> <br> Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.<br> <br> For more information, visit his website at: http://www.isadar.comContains:<br> "En Face Du Miroir (Facing The Mirror)"<br> - taken from the Isadar solo piano complete collection, "Red" (also available on SMP)<br> <br> Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists<br> <br> Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording<br> <br> Album & Songbook Review by: Kathy Parsons<br> <br> Red is pianist/composer Isadar’s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar’s best piano pieces; O Christmas, Isadar’s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.<br> <br> I have been reviewing and thoroughly enjoying Isadar’s releases since his second piano album, 1999’s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar’s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.<br> <br> Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar’s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.<br> <br> Red opens with “Broken Valentine,” a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. “The Man Who Broke My Heart” is energetic and in constant swirling motion - also very free and from deep within. “The Stairwell” is darker and much more mysterious, overflowing with Isadar’s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute “Letting Go,” a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! “En Face Du Miroir (Facing the Mirror)” is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with “Blood ... Thicker Than Water,” again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.<br> <br> Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!<br> <br> Isadar’s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar’s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.<br> <br> Isadar is an amazing pianist with a style all his own, so this isn’t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.<br> <br> Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9”x12” format with a stapled binding.<br> <br> If you enjoy listening to Isadar’s music, I’m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!<br> <br> The songs with their key signatures and the number of pages is listed below:<br> <br> Broken Valentine - C minor (3 flats) - 4 pages<br> Red - A minor (0 sharps or flats) - 5 pages<br> The Man Who Broke My Heart - A minor - 6 pages<br> The Stairwell - F# minor (3 sharps) - 7 pages<br> Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages<br> En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages<br> Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages<br> <br> Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...<br> <br> Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.<br> <br> For more information, visit his website at: http://www.isadar.com
$5.99
5.51 €
#
Piano seul
#
Isadar
#
En Face Du Miroir
#
Mainya Music Publishing
#
SheetMusicPlus
Jazz Course for All Instruments 5 Simple Strategies for Developing Jazz Language and Fluency
Formation musicale - Solfège
Jazz. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #30890EB. Publish…
(+)
Jazz. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #30890EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459295. 8.75x11.75 inches.<br> <br> According to musician and musicologist Gunther Schuller, 75% of all harmonic movement in jazz consists of ii-V-I progressions. Consequently, for the jazz improvisor, it is extremely important to be capable of playing a coherent phrase based on any member note of the ii chord and its extensions, in any key. In this book, music educator and world-renowned jazz saxophonist, Lukas Gabric focuses on helping you develop this essential skill. The five strategies outlined in Jazz Course for All Instruments are specifically designed to enhance your vocabulary and fluency as a jazz improviser. In a key segment, Gabric explains how longer phrases can be generated by combining minimal source materials. He also seeks to further your transposition and memorization skills as well as instrumental techniqueall of which are required for effective improvisation. For those familiar with other styles of music, this reasoned, incremental approach could well open the door to the exciting world of improvised jazz.ISBN 9781513459295. 8.75x11.75 inches.<br> <br> According to musician and musicologist Gunther Schuller, 75% of all harmonic movement in jazz consists of ii-V-I progressions. Consequently, for the jazz improvisor, it is extremely important to be capable of playing a coherent phrase based on any member note of the ii chord and its extensions, in any key. In this book, music educator and world-renowned jazz saxophonist, Lukas Gabric focuses on helping you develop this essential skill. The five strategies outlined in Jazz Course for All Instruments are specifically designed to enhance your vocabulary and fluency as a jazz improviser. In a key segment, Gabric explains how longer phrases can be generated by combining minimal source materials. He also seeks to further your transposition and memorization skills as well as instrumental techniqueall of which are required for effective improvisation. For those familiar with other styles of music, this reasoned, incremental approach could well open the door to the exciting world of improvised jazz.
$9.99
9.19 €
#
Formation musicale - Solfège
#
Jazz Course for All Instruments 5 Simple Strategies for Developing Jazz Language and Fluency
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Op. 41, No. 8: Quand je pense à ce jour from Songs of Gouvy, V1 (Downloadable)
Piano, Voix
Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SK…
(+)
Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SKU: MQ.8491-14E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 6 pages. E. C. Schirmer Music Company - Digital #8491-14E. Published by E. C. Schirmer Music Company - Digital (MQ.8491-14E). French.A French composer, Théodore Gouvy (1819-1898) was one of the most significant composers of 19th Century in Europe. The movement of rediscovering his instrumental music has been increasingly successful in Europe since the 1990s, especially following the birth of L’Institut Gouvy in France. However, his solo vocal music has been waiting to be unveiled to the public. Volume One includes 52 songs of Gouvy.Gouvy traveled widely throughout Europe. He was also a lover of nature. Generally, he spent his winters in Leipzig, but in the summertime, he always returned to Hombourg-Haut, France, to stroll through the woods, to hunt, and to relax. Gouvy was fluent in several languages and had a great appreciation of the Renaissance French Poetry of Pierre de Ronsard whose poetry he had set to music. The fifty-two songs in this volume are largely by Ronsard and other Renaissance poets of La Pléiade.Although Ronsard is approximately 300 years older than Gouvy, they both seem to have the same interest in classical literature, though, admittedly, for different reasons. Celebrated by the French and English courts, Ronsard (1525-1585) was the leader of La Pléiade: a group of seven poets (Joachim Du Bellay (1522-1560), Rémy Belleau (1528-1577), Étienne Jodelle (1532-1573), Pontus de Tyard (1521-1603), Jean–Antoine Baïf (1532-1589), and Jean Daurat (1508-1588), who dedicated their efforts to writing poetry in French rather than in Latin (or Greek) as most of the Romantic poets did. They wished to enrich the French language, and establish a new literature which would be the equal of the other literature of their period, and the equal to poets of the past. French Romantic poetry featured the closeness of the poet to nature, and his ability to communicate with nature by personifying (anthropomorphizing) all of nature’s elements: flowers, the planets, the moon, the breeze, and even the sand upon the shore. As a significant melodist, Gouvy’s treatment of the vocal solo line and his treatment and development of the piano accompaniment places him in the upper echelons as a composer of songs. His diverse cultural life led a rich and significant musical life, interacting with his contemporaries who admired his work, and whom Gouvy knew well, such as Liszt, Brahms, Schumann, Mendelssohn, Berlioz and Gounod. Contents:Six Odes de Ronsard pour ténor et piano, Op. 37 (No. 3 et No. 5 avec violoncelle) Neuf Poésies de Ronsard pour soprano ou ténor et piano, Op. 41 Six Poésies de Ronsard pour soprano ou ténor et piano, Op. 42 Quatre Odes de Ronsard pour baryton et piano, Op. 43 Huit Poésies de Ronsard pour ténor ou soprano et piano, Op. 44 Sept Poésies de Ronsard pour ténor ou soprano et piano, Op. 47.
$3.00
2.76 €
#
Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 41, No. 8: Quand je pense à ce jour from Songs of Gouvy, V1
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
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
22.08 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
The Organ Music of Diane Bish: The American Collection
Orgue
Organ SKU: HL.8746995 Arranged by Diane Bish. Organ Solo. Fred Bock Publications. G…
(+)
Organ SKU: HL.8746995 Arranged by Diane Bish. Organ Solo. Fred Bock Publications. General Worship, Sacred. Softcover. 34 pages. Fred Bock Music Company #BGK1010. Published by Fred Bock Music Company (HL.8746995). ISBN 9781423425960. UPC: 884088141165. 9.0x12.0x0.086 inches.The American Collection contains five fabulous hymn arrangements by American organist extraordinaire, Diane Bish. Perhaps most exciting is the long-awaited printed version of Jacob's Ladder. This concert favorite is finally available for others to play. Diane has also penned her concert arrangement of Peace, Perfect Peace and The Lord's My Shepherd - wonderful, reflective selections. The collection rounds out with A New Name in Glory and Come Thou Fount of Every Blessing..
$14.95
13.76 €
#
Orgue
#
Diane Bish
#
The Organ Music of Diane Bish: The American Collection
#
Fred Bock Music Company
#
SheetMusicPlus
March of the Penguins, Opening Theme from (The Harshest Place on Earth): (wp) 1st Horn in E-flat
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPEH1 (wp) 1st Horn in E-f…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPEH1 (wp) 1st Horn in E-flat. Composed by Alex Wurman. Arranged by Douglas E. Wagner. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000899_wpEH1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000899_WPEH1). UPC: 038081275369.Douglas E. Wager has prepared the charming theme from March of the Penguins for young band. With all of the energy and emotion, this is a solidly scored choice sure to please both students and audiences alike.
$3.00
2.76 €
#
Orchestre d'harmonie
#
Alex Wurman
#
Douglas E
#
March of the Penguins, Opening Theme from
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
March of the Penguins, Opening Theme from (The Harshest Place on Earth): (wp) B-flat Tuba B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTBBBC (wp) B-flat Tuba B…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTBBBC (wp) B-flat Tuba B.C.. Composed by Alex Wurman. Arranged by Douglas E. Wagner. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000899_wpTBBBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000899_WPTBBBC). UPC: 038081275369.Douglas E. Wager has prepared the charming theme from March of the Penguins for young band. With all of the energy and emotion, this is a solidly scored choice sure to please both students and audiences alike.
$3.00
2.76 €
#
Orchestre d'harmonie
#
Alex Wurman
#
Douglas E
#
March of the Penguins, Opening Theme from
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
March of the Penguins, Opening Theme from (The Harshest Place on Earth): (wp) 1st B-flat Trombone T.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTN1TC (wp) 1st B-flat Tr…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTN1TC (wp) 1st B-flat Trombone T.C.. Composed by Alex Wurman. Arranged by Douglas E. Wagner. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000899_wpTN1TC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000899_WPTN1TC). UPC: 038081275369.Douglas E. Wager has prepared the charming theme from March of the Penguins for young band. With all of the energy and emotion, this is a solidly scored choice sure to please both students and audiences alike.
$3.00
2.76 €
#
Orchestre d'harmonie
#
Alex Wurman
#
Douglas E
#
March of the Penguins, Opening Theme from
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
March of the Penguins, Opening Theme from (The Harshest Place on Earth): (wp) E-flat Tuba T.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTBETC (wp) E-flat Tuba T…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTBETC (wp) E-flat Tuba T.C.. Composed by Alex Wurman. Arranged by Douglas E. Wagner. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000899_wpTBETC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000899_WPTBETC). UPC: 038081275369.Douglas E. Wager has prepared the charming theme from March of the Penguins for young band. With all of the energy and emotion, this is a solidly scored choice sure to please both students and audiences alike.
$3.00
2.76 €
#
Orchestre d'harmonie
#
Alex Wurman
#
Douglas E
#
March of the Penguins, Opening Theme from
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
March of the Penguins, Opening Theme from (The Harshest Place on Earth): (wp) E-flat Tuba B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTBEBC (wp) E-flat Tuba B…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTBEBC (wp) E-flat Tuba B.C.. Composed by Alex Wurman. Arranged by Douglas E. Wagner. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000899_wpTBEBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000899_WPTBEBC). UPC: 038081275369.Douglas E. Wager has prepared the charming theme from March of the Penguins for young band. With all of the energy and emotion, this is a solidly scored choice sure to please both students and audiences alike.
$3.00
2.76 €
#
Orchestre d'harmonie
#
Alex Wurman
#
Douglas E
#
March of the Penguins, Opening Theme from
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
March of the Penguins, Opening Theme from (The Harshest Place on Earth): (wp) B-flat Baritone B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPBBBC (wp) B-flat Bariton…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPBBBC (wp) B-flat Baritone B.C.. Composed by Alex Wurman. Arranged by Douglas E. Wagner. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000899_wpBBBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000899_WPBBBC). UPC: 038081275369.Douglas E. Wager has prepared the charming theme from March of the Penguins for young band. With all of the energy and emotion, this is a solidly scored choice sure to please both students and audiences alike.
$3.00
2.76 €
#
Orchestre d'harmonie
#
Alex Wurman
#
Douglas E
#
March of the Penguins, Opening Theme from
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
March of the Penguins, Opening Theme from (The Harshest Place on Earth): (wp) 1st B-flat Trombone B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTN1BC (wp) 1st B-flat Tr…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTN1BC (wp) 1st B-flat Trombone B.C.. Composed by Alex Wurman. Arranged by Douglas E. Wagner. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000899_wpTN1BC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000899_WPTN1BC). UPC: 038081275369.Douglas E. Wager has prepared the charming theme from March of the Penguins for young band. With all of the energy and emotion, this is a solidly scored choice sure to please both students and audiences alike.
$3.00
2.76 €
#
Orchestre d'harmonie
#
Alex Wurman
#
Douglas E
#
March of the Penguins, Opening Theme from
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
March of the Penguins, Opening Theme from (The Harshest Place on Earth): (wp) B-flat Tuba T.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTBBTC (wp) B-flat Tuba T…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0000899_WPTBBTC (wp) B-flat Tuba T.C.. Composed by Alex Wurman. Arranged by Douglas E. Wagner. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000899_wpTBBTC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000899_WPTBBTC). UPC: 038081275369.Douglas E. Wager has prepared the charming theme from March of the Penguins for young band. With all of the energy and emotion, this is a solidly scored choice sure to please both students and audiences alike.
$3.00
2.76 €
#
Orchestre d'harmonie
#
Alex Wurman
#
Douglas E
#
March of the Penguins, Opening Theme from
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
I Have Been Redeemed
Chorale SATB
Piano Accompaniment, Choir, SATB - Intermediate - Digital Download Composed by Michae…
(+)
Piano Accompaniment, Choir, SATB - Intermediate - Digital Download Composed by Michael Ware. 21st Century, Christian, Contemporary Christian, Sacred, General Worship. Score. 8 pages. Published by MusicWare Press
I Have Been Redeemed energetically expresses the joy of having salvation in Christ by utilizing a familiar hymn text with a newly composed tune. It could be used as a call to worship or service opener. This choral setting is appropriate for any time of year.<br> YouTube Video: https://www.youtube.com/watch?v=V_9kEe78FCQ<br> Visit the composer's website: http://www.musicwarepress.com/<br> Sign up for email updates from the composer: http://eepurl.com/bigxa9<br> View MusicWare Press on Facebook: https://www.facebook.com/musicwarepress/I Have Been Redeemed energetically expresses the joy of having salvation in Christ by utilizing a familiar hymn text with a newly composed tune. It could be used as a call to worship or service opener. This choral setting is appropriate for any time of year.<br> YouTube Video: https://www.youtube.com/watch?v=V_9kEe78FCQ<br> Visit the composer's website: http://www.musicwarepress.com/<br> Sign up for email updates from the composer: http://eepurl.com/bigxa9<br> View MusicWare Press on Facebook: https://www.facebook.com/musicwarepress/
$2.60
2.39 €
#
Chorale SATB
#
Michael Ware
#
I Have Been Redeemed
#
MusicWare Press
#
SheetMusicPlus
Credo
Soloists (SMezATB), children's choir, mixed choir and orchestra - Digital Download SKU:…
(+)
Soloists (SMezATB), children's choir, mixed choir and orchestra - Digital Download SKU: S9.Q6944 For Soli (Soprano, Mezzo Soprano, Alto, Tenor, Bass), Children’s Choir, Mixed Choir and Orchestra. Composed by Krzysztof Penderecki. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 60 minutes. Schott Music - Digital #Q6944. Published by Schott Music - Digital (S9.Q6944). Latin.Romantische Anklänge und avantgardistische Techniken, filigrane Vokal- und Instrumentalsoli sowie kraftvolle Chor- und Orchesterpassagen – in Krzysztof Pendereckis „Credo“ vereinigen sich vier Jahrzehnte eigener musikalischer Erfahrung und zwei Jahrhunderte Musikgeschichte. Als Penderecki, einer der populärsten und produktivsten Gegenwartskomponisten, 1996 von Helmuth Rilling den Auftrag erhielt, eine Messe zu schreiben, stellte er den für ihn wichtigsten Teil, das „Credo“, ins Zentrum seines Schaffens. Es entwickelte sich schließlich zu einem eigenständigen Werk, weil es alle ursprünglich geplanten Dimensionen sprengte.Picc. · 2 · 2 · Engl. Hr. · 2 (2. auch Es-Klar.) · Bassklar. · 2 · Kfg. - 4 · 3 · 3 · 1 - P. S. (6 hg. Beck. · Beckenpaar · 3 Tamt. · Boo-bam · 5 Tomt. · Tamb. · Rührtr. · gr. Tr. m. Beck. · 3 Kirchengl. · Kuhgl. · Röhrengl. · Schellenbaum · Trgl.-baum · Glsp. · Marimba) (4 Spieler) - Hfe. · Cel. · Klav. · Org. - Str. Im Saal: 2 Hr. in F · 2 Trp. in D · 2 Trp. in C · 3 Pos.
$55.99
51.53 €
#
Krzysztof Penderecki
#
Credo
#
Schott Music - Digital
#
SheetMusicPlus
Open the Eyes of My Heart
Piano seul
Piano Solo Piano/Keyboard SKU: HL.8739715 Contemporary Praise and Worship Songs …
(+)
Piano Solo Piano/Keyboard SKU: HL.8739715 Contemporary Praise and Worship Songs Arranged for Piano. By Various. Piano Solos. Fred Bock Publications. General Worship, Sacred. 48 pages. Fred Bock Music Company #BGK1008. Published by Fred Bock Music Company (HL.8739715). ISBN 9781934596241. UPC: 073999397154. 9.0x12.0x0.155 inches. Arranged by Bock/Curry/Hayes/Lucas/Martin/Sanborn Seasons of Praise.This collection offers a variety of terrific praise and worship choruses arranged with the church pianist in mind. Ten titles, including: Shout to the Lord * I Want to Be Where You Are * Mourning into Dancing * Give Thanks * Thou Art Worthy * Open the Eyes of My Heart * and more.
$12.95
11.92 €
#
Piano seul
#
Various
#
Open the Eyes of My Heart
#
Fred Bock Music Company
#
SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q25928 Pentatonic.…
(+)
Voice, recorder and percussion - Digital Download SKU: S9.Q25928 Pentatonic. Composed by Carl Orff and Gunild Keetman. Arranged by Arnold Walter and Doreen Hall. This edition: score for voice and/or instruments. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 1. Schott Music - Digital #Q25928. Published by Schott Music - Digital (S9.Q25928). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition musik für Kinder, english adaption with additional material by Doreen Hall and Arnold Walter.
$10.99
10.11 €
#
Carl Orff and Gunild Keetman
#
Arnold Walter and Doreen Hall
#
Music for Children
#
Schott Music - Digital
#
SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q2433 Minor: Bordun
(+)
Voice, recorder and percussion - Digital Download SKU: S9.Q2433 Minor: Bordun. Composed by Carl Orff and Gunild Keetman. Arranged by Arnold Walter and Doreen Hall. This edition: score for voice and/or instruments. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 4. Schott Music - Digital #Q2433. Published by Schott Music - Digital (S9.Q2433). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition musik für Kinder, english adaption with additional material by Doreen Hall and Arnold Walter.
$11.99
11.03 €
#
Carl Orff and Gunild Keetman
#
Arnold Walter and Doreen Hall
#
Music for Children
#
Schott Music - Digital
#
SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q42466 Pentatonic.…
(+)
Voice, recorder and percussion - Digital Download SKU: S9.Q42466 Pentatonic. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orff-Schulwerk - Rhythmusübungen - Kinderreime. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 1. Schott Music - Digital #Q42466. Published by Schott Music - Digital (S9.Q42466). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this first volume: speech and rhythmic exercises, nursery rhymes, songs, instrumental pieces and melodic exercises using only the five note scale, with instructions and notes. Illustrated.
$21.99
20.24 €
#
Margaret Murray
#
Music for Children
#
Schott Music - Digital
#
SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q53825 Major: Dominant…
(+)
Voice, recorder and percussion - Digital Download SKU: S9.Q53825 Major: Dominant and Subdominant Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orchestration - Orff Schulwerk - keys. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 3. Schott Music - Digital #Q53825. Published by Schott Music - Digital (S9.Q53825). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this third volume: The instrumentation and range of keys are inceased. The settings include the chords on the fourth and fifth notes of the major scale.
$21.99
20.24 €
#
Margaret Murray
#
Music for Children
#
Schott Music - Digital
#
SheetMusicPlus
<
1
26
51
....
9976
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
