English version
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
Accueil
Instrumentations
Compositeurs
Nouveautés
Top 100
Métronome
Portées musicales
ACHATS POUR MUSICIENS
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
1 201
Partitions
Numériques
10 139
Librairie
Musicale
9 287
Matériel
de Musique
503
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
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
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
1014
PIANO & CLAVIERS
Piano, Voix et Guitare
1073
Piano seul
991
Piano, Voix
528
Piano Facile
281
Instruments en Do
169
Orgue
81
Piano grosses notes
49
Accordéon
20
1 Piano, 4 mains
20
Piano Trio: piano, violon, violoncelle
9
Piano Quatuor: piano, 2 violons, violoncelle
6
2 Pianos, 4 mains
6
Accompagnement Piano
6
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Piano Quatuor: piano, violon, alto, violoncelle
4
Ligne De Mélodie, Piano
2
Orgue, Piano (duo)
2
Clavecin
1
Orgue, Trompette (duo)
1
Piano (partie séparée)
1
Instrumentations suivantes
Retracter
GUITARES
Guitare notes et tablatures
293
Ligne De Mélodie, (Paroles) et Accords
288
Paroles et Accords
98
Guitare
81
Ukulele
64
Basse electrique
36
Banjo
5
4 Guitares (Quatuor)
4
Dulcimer
3
Piano, Guitare (duo)
3
Basse électrique (partie séparée)
3
2 Guitares (duo)
3
3 Guitares (trio)
2
Guitare (partie séparée)
2
Mandoline
2
Ensemble de Ukulélés
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
435
Chorale 3 parties
149
Chorale 2 parties
66
Chorale TTBB
56
Chorale SSAA
36
Chorale
31
Voix seule
26
Chorale Unison
24
Voix duo, Piano
17
Voix duo
9
Voix Soprano, Piano
7
Voix moyenne, Piano
5
Voix haute
4
Voix Soprano
3
Voix, Guitare
2
Chorale SSATB
2
Voix basse, Piano
2
Voix Alto, Piano
1
Male Voice
1
Instrumentations suivantes
Retracter
VENTS
Clarinette
114
Saxophone (partie séparée)
85
Flûte traversière
83
Saxophone
78
Quatuor de Saxophones: 4 saxophones
75
2 Saxophones (duo)
72
Saxophone Alto
67
Hautbois, Piano (duo)
51
Flûte traversière et Piano
51
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
51
Flûte, Hautbois, Clarinette, Basson
50
2 Flûtes traversières (duo)
44
Saxophone Alto et Piano
42
Quintette de Saxophone: 5 saxophones
39
Clarinette et Piano
39
Saxophone Tenor et Piano
37
Hautbois (partie séparée)
35
2 Clarinettes (duo)
33
Saxophone Tenor
32
Quatuor de Clarinettes: 4 clarinettes
26
Saxophone Soprano et Piano
25
Flûte et Guitare
23
2 Hautbois (duo)
22
Clarinette (partie séparée)
22
3 Saxophones (trio)
21
Quintette de Clarinettes: 5 clarinettes
16
Quintette de Flûte : 5 flûtes
16
Quatuor de Flûtes : 4 flûtes
15
Flûte, Clarinette (duo)
14
Saxophone Baryton, Piano
13
Ensemble de Clarinettes
12
Hautbois, Clarinette (duo)
12
Cor anglais, Piano
12
Saxophone, Clarinette (duo)
12
Clarinette, Violon (duo)
12
Clarinette, Guitare (duo)
11
3 Clarinettes (trio)
11
2 Flûte à bec (duo)
10
Hautbois
9
Instruments en Mib
8
Saxophone Soprano
8
Flûte, Hautbois, Clarinette (trio)
8
Flute (partie séparée)
8
Flûte, Violon
7
Cor anglais, Guitare (duo)
7
Trio de Flûtes: 3 flûtes
7
Hautbois, Basson (duo)
6
Ensemble de Flûtes
6
Flûte à bec Soprano
6
Clarinette, Trompette (duo)
5
Clarinette et Alto
5
Flûte, Clarinette et Basson
5
Flûte, Trompette (duo)
4
Flûte, Saxophone (duo)
4
Hautbois, Flûte
4
Flûte, Hautbois (duo)
3
Clarinette, Basson (duo)
3
Clarinette Basse, Piano
3
Flûte à bec Alto
3
Flûte à Bec
3
3 Flûtes à bec (trio)
3
Flûte, Alto (duo)
3
Ensemble de saxophones
3
Quatuor de Flûtes à bec
2
Harmonica
2
Clarinette Basse
2
Saxophone et Orgue
2
Ocarina
2
5 Flûtes à bec
2
Flûte à bec Alto, Piano
2
Cor Anglais
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Saxophone Baryton
2
Flûte, Hautbois, Basson
2
Flûte, Violoncelle
2
Flûte, Violon, Piano
1
4 Hautbois
1
Piccolo
1
Flûte à bec, Guitare (duo)
1
2 Clarinettes, Piano
1
Flûte à bec Tenor
1
Flûte irlandaise
1
Saxophone et Guitare
1
3 Hautbois
1
Hautbois, Violon, Piano
1
Flute, harpe et violon
1
Flûte, Clarinette, Violon (trio)
1
2 Clarinettes, Basson
1
Hautbois, violon (duo)
1
Instrumentations suivantes
Retracter
CUIVRES
Trompette
88
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
74
Trombone
64
Cor
44
Trombone et Piano
34
Trompette, Piano
33
Quatuor de Cuivres : 2 trompettes, trombone, tuba
33
Trompette (partie séparée)
28
Cor et Piano
26
2 Trompettes (duo)
25
Tuba et Piano
25
2 Trombones (duo)
23
Tuba
20
Trombone (partie séparée)
17
Trompette, Trombone (duo)
15
2 Cors (duo)
14
Quatuor de Cuivres: 2 trompettes, Cor, trombone
13
Quatuor de Cuivres
12
Cor anglais, Piano
12
Trompette, Saxophone (duo)
12
Bass Clef Instruments
10
Instruments en Sib
8
Euphonium, Piano (duo)
8
2 Tubas (duo)
7
Cor anglais, Guitare (duo)
7
Tuba (partie séparée)
7
Quatuor de cuivres: 4 trombones
5
Cor (partie séparée)
5
Trompette, Cor (duo)
5
Quatuor de cuivres: 4 cors
5
Euphonium
3
Tuba ou Euphonium ou Saxhorn
3
2 Euphoniums et 2 Tubas
3
Ensemble de Trombones
3
Ensemble de Cors
3
Ensemble de Trompettes
3
Euphonium, Tuba (duo)
2
Cor Anglais
2
Quatuor de cuivres: 4 trompettes
1
3 Tubas (trio)
1
4 Tubas
1
Trio de Cuivres
1
Cor et Orgue
1
Instruments en Fa
1
Trombone, Cor (duo)
1
Ensemble de Tubas
1
Trombone basse et Piano
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
177
Violon
99
Violon et Piano
73
Alto seul
61
Violoncelle, Piano
55
Violoncelle
51
Alto, Piano
44
2 Violons (duo)
42
Violoncelle (partie séparée)
38
Violon, Violoncelle (duo)
37
2 Violoncelles (duo)
30
2 Altos (duo)
26
Harpe
25
Quintette à cordes: 2 violons, alto, violoncelle, basse
25
Contre Basse
21
Violon, Alto (duo)
16
Alto (partie séparée)
16
Trio à Cordes: violon, alto, violoncelle
12
Violon (partie séparée)
10
Contrebasse, Piano (duo)
10
Contrebasse (partie séparée)
10
Trio à Cordes: 2 violons, violoncelle
9
2 Contrebasses (duo)
7
Alto, Violoncelle (duo)
7
4 Violoncelles
5
Violon, Guitare (duo)
4
Trio à Cordes: 3 violoncelles
4
Piano Trio: Violon, Alto, Piano
4
Violoncelle , Guitare (duo)
4
Quatuor à cordes: 4 violons
2
Trio à cordes: 3 altos
2
Quatuor à cordes : 4 altos
2
Harpe, Voix
2
Alto, Guitare (duo)
2
Violoncelle, Orchestre
1
Violon, Basson (duo)
1
Harpe et Piano
1
Trio à cordes: 3 violins
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
379
Orchestre
114
Orchestre à Cordes
68
Ensemble Jazz
53
Ensemble de cuivres
34
Fanfare
31
Batterie
30
Cloches
28
Jazz combo
25
Orchestre de chambre
25
Percussion (partie séparée)
13
Percussion
9
Ensemble de Percussions
6
Xylophone
4
Marimba
4
Vibraphone
3
2 Xylophones
2
Batterie (partie séparée)
2
Vibraphone et Marimba
2
Quatuor à Vent : 4 instruments à vents
1
2 Marimbas
1
Timbales
1
Quintette à Vent
1
Instrumentations suivantes
Retracter
AUTRES
Vous avez sélectionné:
Never For Ever
Partitions à imprimer
10 139 partitions trouvées
<
1
26
51
....
9976
Three Pieces for Two Violins and Piano
Two Violins, Piano - Digital Download SKU: IZ.PDP300 Composed by Rebecca Clarke. Sc…
(+)
Two Violins, Piano - Digital Download SKU: IZ.PDP300 Composed by Rebecca Clarke. Score and Parts. 52 pages. Imagine Music - Digital #PDP300. Published by Imagine Music - Digital (IZ.PDP300). 9 x 12 inches.Clarke worked on the Pieces for Two Violins and Piano during 1909, her last year at the Royal College, when Danse Bizarre gained her a scholarship. Clarke mentioned Danse Bizarre in her typescript memoir composed in the 1970s, and also discussed it with me in 1977 while helping me catalogue her compositions, but she said then that it was long lost, and made no mention of any related material. In the year 2000, however, Clarke's great-nephew Daniel Braden found.a box that Clarke had put in the back of a closet decades before and evidently forgotten, which turned out to contain a chaotic assortment of letters, papers, medical records, and music-manuscript sheets. When put in order, the latter yielded the missing inner leaf of an important viola piece and a number of previously unknown or presumed-lost arrangements and compositions, including ''Danse Bizarre and a Prelude, a Nocturne, and the beginning of a Finale for the same instruments, on the same paper, and bearing similar markings in Clarke's hand and in at least one other hand, which may well be Stanford's. The four movements were plainly developed as a suite, although there is nothing to suggest a sequence for the inner movements, and no compelling reason to believe that the Finale ever got beyond the extant eight pages. The manuscript of the Finale is noticeably rougher than those of the other movements, and several pencil-markings, apparently in another hand, suggest that some of its motivic material had not yet jelled. It seems entirely possible that Clarke had only begun this movement when a family crisis forced her to leave the College, and that she never returned to it. In any case, there is not enough of the Finale to make performance feasible, but the other movements stand quite magnificently on their own. They were recorded by Lorraine McAslan, David Juritz, and Ian Jones on Dutton CDLX 7132, released in 2003. The first public performance, by students at the Royal College under Jones's supervision, took place in May 2005 in the College's Concert Hall, where Clarke had last performed nearly a century before.
$32.00
29.35 €
#
Rebecca Clarke
#
Three Pieces for Two Violins and Piano
#
Imagine Music - Digital
#
SheetMusicPlus
Hollinfare Te Deum for men's voices and organ
Chorale 3 parties
Choral Choir,Choral (3-Part) - Level 3 - Digital Download SKU: A0.576393 Composed b…
(+)
Choral Choir,Choral (3-Part) - Level 3 - Digital Download SKU: A0.576393 Composed by David Warin Solomons. 20th Century,Contemporary,Sacred,Spiritual. 9 pages. David Warin Solomons #20919. Published by David Warin Solomons (A0.576393). St Helen's church in Hollinfare celebrated its 500th anniversary in 1997 and invited the gentlemen of Manchester Cathedral Choir to sing at the celebratory service. The service included a Te Deum and Jubilate, which I wrote especially for the purpose. The Te Deum is a full setting with organ and alto, tenor and bass singers. The Jubilate is a psalm chant. Both are available on this site. The sound sample in each case is the original performance.The words of the Te Deum are: We praise thee, O God : we acknowledge thee to be the Lord. All the earth doth worship thee : the Father everlasting. To thee all Angels cry aloud : Â the Heavens, and all the Powers therein. To thee Cherubim and Seraphim : continually do cry, Holy, Holy, Holy : Lord God of Hosts; Heaven and earth are full of the Majesty : of thy glory. The glorious company of the Apostles : praise thee. The goodly fellowship of the Prophets : praise thee. The noble army of Martyrs : praise thee. The holy Church throughout all the world : doth acknowledge thee; The Father : of an infinite Majesty; Thine honourable, true : and only Son; Also the Holy Ghost : the Comforter. Thou art the King of Glory : O Christ. Thou art the everlasting Son : of the Father. When thou tookest upon thee to deliver man : thou didst not abhor the Virgin's womb. When thou hadst overcome the sharpness of death : thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God : in the glory of the Father. We believe that thou shalt come : to be our Judge. We therefore pray thee, help thy servants : whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints : in glory everlasting. O Lord, save thy people : and bless thine heritage. Govern them : and lift them up for ever. Day by day : we magnify thee; And we worship thy Name : ever world without end. Vouchsafe, O Lord : to keep us this day without sin.O Lord, have mercy upon us : have mercy upon us. O Lord, let thy mercy lighten upon us : as our trust is in thee. O Lord, in thee have I trusted : let me never be confounded.
$2.99
2.74 €
#
Chorale 3 parties
#
David Warin Solomons
#
Hollinfare Te Deum for men's voices and organ
#
David Warin Solomons
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Alto Flute & Piano
Flûte traversière et Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.549473 Composed by Alexander Scria…
(+)
Flute,Piano - Level 3 - Digital Download SKU: A0.549473 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499833. Published by jmsgu3 (A0.549473). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.BackgroundOp.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt.FormsLikewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality.PhilosophyScriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys.SynesthesiaHe also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. MultimediaHence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain.Modern PerformancesIn modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Flûte traversière et Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Alto Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Trumpet & Piano
Trompette, Piano
B-Flat Trumpet,Piano - Level 3 - Digital Download SKU: A0.549478 Composed by Alexan…
(+)
B-Flat Trumpet,Piano - Level 3 - Digital Download SKU: A0.549478 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499993. Published by jmsgu3 (A0.549478). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Trompette, Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Trumpet & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for English Horn & Piano
Cor anglais, Piano
English Horn,Piano - Level 3 - Digital Download SKU: A0.549472 Composed by Alexande…
(+)
English Horn,Piano - Level 3 - Digital Download SKU: A0.549472 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499777. Published by jmsgu3 (A0.549472). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Cor anglais, Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for English Horn & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Bass Flute & Piano
Bass Flute,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.549474 Comp…
(+)
Bass Flute,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.549474 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3499839. Published by jmsgu3 (A0.549474). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Bass Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Baritone Horn & Piano
Euphonium, Piano (duo)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.549481 Composed by Alexander S…
(+)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.549481 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3500065. Published by jmsgu3 (A0.549481). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Euphonium, Piano (duo)
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Baritone Horn & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Euphonium & Piano
Euphonium, Piano (duo)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.549480 Composed by Alexander S…
(+)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.549480 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3500061. Published by jmsgu3 (A0.549480). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Euphonium, Piano (duo)
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Euphonium & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Bass Clarinet & Piano
Clarinette Basse, Piano
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549476 Composed by Alexand…
(+)
Bass Clarinet,Piano - Level 3 - Digital Download SKU: A0.549476 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499849. Published by jmsgu3 (A0.549476). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Clarinette Basse, Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Bass Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Flute & Piano
Flûte traversière et Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.549464 Composed by Alexander Scria…
(+)
Flute,Piano - Level 3 - Digital Download SKU: A0.549464 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499727. Published by jmsgu3 (A0.549464). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Flûte traversière et Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Viola & Piano
Alto, Piano
Piano,Viola - Level 3 - Digital Download SKU: A0.549462 Composed by Alexander Scria…
(+)
Piano,Viola - Level 3 - Digital Download SKU: A0.549462 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499711. Published by jmsgu3 (A0.549462). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Alto, Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Viola & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Bassoon & Piano
Basson, Piano (duo)
Instrumental Duet Bassoon,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.…
(+)
Instrumental Duet Bassoon,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.549477 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and parts. 12 pages. Jmsgu3 #3499857. Published by jmsgu3 (A0.549477). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Basson, Piano (duo)
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Bassoon & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Baritone Sax & Piano
Saxophone Baryton, Piano
Baritone Saxophone,Piano - Level 3 - Digital Download SKU: A0.549468 Composed by Al…
(+)
Baritone Saxophone,Piano - Level 3 - Digital Download SKU: A0.549468 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499757. Published by jmsgu3 (A0.549468). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Saxophone Baryton, Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Baritone Sax & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Alto Sax & Piano
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.549467 Composed by Alexan…
(+)
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.549467 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499755. Published by jmsgu3 (A0.549467). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Saxophone Alto et Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Alto Sax & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Tenor Sax & Piano
Saxophone Tenor et Piano
Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549469 Composed by Alexa…
(+)
Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549469 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499759. Published by jmsgu3 (A0.549469). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Saxophone Tenor et Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Tenor Sax & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Soprano Sax & Piano
Saxophone Soprano et Piano
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.549466 Composed by Ale…
(+)
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.549466 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499743. Published by jmsgu3 (A0.549466). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Saxophone Soprano et Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Soprano Sax & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Cello & Piano
Violoncelle, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.549463 Composed by Aleksandr Scria…
(+)
Cello,Piano - Level 3 - Digital Download SKU: A0.549463 Composed by Aleksandr Scriabin (1871 - 1915). Arranged by James M. Guthrie. Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499715. Published by jmsgu3 (A0.549463). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors.  Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$26.95
24.72 €
#
Violoncelle, Piano
#
Aleksandr Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Cello & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Oboe d'Amore & Piano
Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.549471 Co…
(+)
Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.549471 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3499775. Published by jmsgu3 (A0.549471). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Oboe d'Amore & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Oboe & Piano
Hautbois, Piano (duo)
Oboe,Piano - Level 3 - Digital Download SKU: A0.549470 Composed by Alexander Scriab…
(+)
Oboe,Piano - Level 3 - Digital Download SKU: A0.549470 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499773. Published by jmsgu3 (A0.549470). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Hautbois, Piano (duo)
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Oboe & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Violin & Piano
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.549461 Composed by Alexander Scri…
(+)
Piano,Violin - Level 3 - Digital Download SKU: A0.549461 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. 12 pages. Jmsgu3 #3499709. Published by jmsgu3 (A0.549461). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.3 €
#
Violon et Piano
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2 for Violin & Piano
#
jmsgu3
#
SheetMusicPlus
Never For Ever
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1321162 By Isadar. By Isadar. New A…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.1321162 By Isadar. By Isadar. New Age. Score. 9 pages. Mainya Music Publishing (BMI) #909614. Published by Mainya Music Publishing (BMI) (A0.1321162). Contains:Never For Ever- taken from the Isadar solo piano collection, Telepathy (solo piano) (available soon on SMP)Sounds like: Liz Story, George Winston, Keith Jarrett, Bill Evans, and early Windham Hill solo piano artists.Transcribed by: David Shenton (
$5.99
5.49 €
#
Piano seul
#
Isadar
#
Never For Ever
#
Mainya Music Publishing
#
SheetMusicPlus
Elva stycken for gitarr ur mitt musikaliska skissblock
Spanish Guitar - Digital Download SKU: BJ.1453 Composed by Olle Adolphson. Edited b…
(+)
Spanish Guitar - Digital Download SKU: BJ.1453 Composed by Olle Adolphson. Edited by Mats Bergström. Octavo. 28 pages. Bo Ejeby Forlag - Digital #1453. Published by Bo Ejeby Forlag - Digital (BJ.1453). 8.27 x 11.7 inches.Eleven songs for guitar from my musical sketchpad.Contents:Skeppsholmskyrkans klockor, Stycke utan titel, Alle mann hadde fota, Comme un p’tit coquelicot, Stycke utan titel, Stycke utan titel, Fiskeskärsmelodin, En liten flicka dansar (Majas visa), Nils Dacke till minne, Innsbruck, ich muss dich lassen, Rättnu min tid.Never before published music by one of Sweden's most beloved troubadours.
$19.00
17.43 €
#
Olle Adolphson
#
Elva stycken for gitarr ur mitt musikaliska skissblock
#
Bo Ejeby Forlag - Digital
#
SheetMusicPlus
South Bay Angle for violin and piano
Violon et Piano
Instrumental Solo,Piano,Violin - Level 5 - Digital Download SKU: A0.987851 Composed…
(+)
Instrumental Solo,Piano,Violin - Level 5 - Digital Download SKU: A0.987851 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 29 pages. Robert M. Greenberg #100609. Published by Robert M. Greenberg (A0.987851). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 6 1/2 minutes Year of composition: 2011 Program Note: Titles, like mold-scum atop month-old cottage cheese, can take on a life of their own. South Bay Angle was originally composed in 1991 during an Astor Piazzolla-inspired fit of tango-madness. While a more appropriate title for the piece would have been something on the lines of I Can Write One of Those! or This Gringo’s Token Tango, circumstances conspired in another titular direction. The piece was originally intended for performance on a program produced by Composers, Inc., a new-music collective in which I was (and remain) an artistic director. Composers Inc. was then in its seventh season. In those days when newspapers still mattered, Composers, Inc. sought to receive as many print reviews as possible. To that end, the organization invited Paul Hertelendy - who was then the music critic for the San Jose Mercury News - to cover its concerts. He said he would do so provided that there was some sort of south-bay angle which addressed the specific needs of his south-bay readership. Thinking myself clever, I thus entitled the piece South Bay Angle. Hertelandy would get his angle and Composers, Inc. would get its coverage. It didn’t work out that way. The piece was never performed; Hertelendy never got his angle; and Composers, Inc. never received a review from the San Jose Mercury News. Instead, twenty years later, I returned to South Bay Angle and rewrote it from the ground up. The piece is cast as a large-scale A-B-A form. The violin is a willing participant in the tango during the A sections, but a rather reluctant tangoista in the B section, during which it tries mightily to turn the music into a waltz. It does not succeed, and the piece ends as it began, in a blaze of rhythmic fury.
$28.00
25.68 €
#
Violon et Piano
#
Robert M
#
South Bay Angle for violin and piano
#
Robert M. Greenberg
#
SheetMusicPlus
Changing Seasons (an etude for piano)
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.1031280 Composed by Adam R. Hass. A…
(+)
Piano Solo - Level 1 - Digital Download SKU: A0.1031280 Composed by Adam R. Hass. Arranged by Adam R. Hass. Concert,Instructional,Standards. Score. 4 pages. Adam R. Hass #6073933. Published by Adam R. Hass (A0.1031280). This is my first original composition with PDF sheet music upload. The piece is a beginner's level variation on my theme, Changing Seasons, which I composed originally in October of 2008. Eventually this piece will be published for a large ensemble but for now, I am sticking with humble beginings. This version of the song is meant to serve as an etude for piano. The song is a fun study of arpeggiation, intriguing chordal movement including secondary dominants, repeats with 1st and 2nd endings, classic piano technique, dexterity, and a small homage to Pachelbel's Canon (although not in D, in this case.) This etude is written in the key of C Major for ease of learning's sake. The original composition was written in the key of D Major. I used PreSonus' Notion 6 for this project. However, I ran into a plethora of difficulties when I transferred the file over to PDF format. Some text was lost as well as the majority of all my performance and technique notes in the score. I will try to correct this ASAP and get the score reloaded. I really just need to get something posted on here because I AM a composer and I have never actually shared a composition in musical score form for others to purchase, play or peruse. This is my first ever. I hope whoever selects this piece enjoys it and might offer some constructive criticism or insight. Have fun! (Note, the piece is intended to be played at approximately 120 bpm but I encourage playing it slowly several times at first to figure out a way through the printing errors for now).
$2.50
2.29 €
#
Piano seul
#
Adam R
#
Adam R
#
#
Changing Seasons
#
Adam R. Hass
#
SheetMusicPlus
We'll never forget you
Clarinet,Drum Set,Electric Guitar,Piano - Level 2 - Digital Download SKU: A0.1287408
(+)
Clarinet,Drum Set,Electric Guitar,Piano - Level 2 - Digital Download SKU: A0.1287408 Composed by Aribidara Jerry T. Arranged by Aribidara Jerry T. Classical,Contemporary. Accompaniment. Duration 174. Aribidara Jerry #878427. Published by Aribidara Jerry (A0.1287408). Before finishing my secondary school, I had an inspiration to compose a song (my first song actually) for my school (with lyrics) and us graduands to perform it. But sadly, it couldn't be performed. I hope this platform can help me publish this for other graduands. Thank you.
$2.99
2.74 €
#
Aribidara Jerry T
#
Aribidara Jerry T
#
We'll never forget you
#
Aribidara Jerry
#
SheetMusicPlus
<
1
26
51
....
9976
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
