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Piano seul
10231
Piano, Voix et Guitare
7489
Piano, Voix
5363
Piano Facile
3155
Orgue
1000
Instruments en Do
572
Piano grosses notes
502
Accordéon
268
1 Piano, 4 mains
218
Accompagnement Piano
88
Piano (partie séparée)
71
Piano Trio: piano, violon, violoncelle
70
2 Pianos, 4 mains
46
Ligne De Mélodie, Piano
42
Piano Quatuor: piano, 2 violons, violoncelle
17
Orgue, Trompette (duo)
16
Piano Quatuor: piano, violon, alto, violoncelle
11
Accordéon, Voix
10
Orgue, Piano (duo)
9
Clavecin
8
Piano Quintette: piano, 2 violons, alto, violoncelle
7
Clavier
6
1 Piano, 6 mains
3
2 Pianos, 8 mains
3
Instrument seul et Orgue
1
2 Accordéons
1
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GUITARES
Guitare notes et tablatures
2638
Ligne De Mélodie, (Paroles) et Accords
2061
Paroles et Accords
928
Guitare
919
Ukulele
780
Basse electrique
625
2 Guitares (duo)
52
Guitare (partie séparée)
47
Guitare Pedal Steel
47
Dulcimer
44
Banjo
38
Piano, Guitare (duo)
34
Mandoline
30
4 Guitares (Quatuor)
26
Ensemble de guitares
24
Ukulele Baryton
12
Mandoline, Piano (duo)
10
Basse électrique (partie séparée)
7
Dobro
6
3 Guitares (trio)
6
2 Ukuleles
5
2 Dulcimers (duo)
3
Ensemble de Ukulélés
3
Mandoline, Guitare (duo)
3
Partitions De Groupes
2
Guitare Tab, Voix, Basse, Batterie
1
Guitare, Orchestre
1
3 Dulcimers (trio)
1
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VOIX
Chorale SATB
3580
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1181
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1031
Chorale TTBB
659
Chorale SSAA
425
Voix duo, Piano
373
Chorale Unison
360
Chorale
335
Voix seule
222
Voix duo
104
Voix Soprano, Piano
86
Pack Instrumental pour Chorale
69
Voix haute
61
Voix Baryton, Piano
49
Voix Alto, Piano
48
Voix Tenor, Piano
43
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15
Voix moyenne, Piano
15
Voix basse, Piano
12
Chorale SSAATTBB
11
Voix Soprano
8
Voix, Guitare
8
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5
Voix Mezzo-Soprano, Piano
4
Voix Tenor
4
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3
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3
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3
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2
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2
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2
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1
Chorale SSAB, Piano
1
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1
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1
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1
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1500
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1291
Flûte traversière et Piano
790
Flûte traversière
721
Clarinette
633
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
631
Clarinette et Piano
605
Saxophone Alto et Piano
535
Hautbois, Piano (duo)
535
Saxophone
460
2 Saxophones (duo)
436
Saxophone Alto
402
Saxophone (partie séparée)
394
Saxophone Tenor
373
Saxophone Tenor et Piano
315
Quintette de Saxophone: 5 saxophones
274
2 Flûtes traversières (duo)
258
Saxophone Soprano et Piano
231
2 Clarinettes (duo)
181
Quatuor de Clarinettes: 4 clarinettes
180
Saxophone Baryton, Piano
159
Hautbois (partie séparée)
135
2 Flûte à bec (duo)
122
Hautbois
120
Clarinette (partie séparée)
119
Flûte, Clarinette (duo)
112
Flute (partie séparée)
97
Quatuor de Flûtes : 4 flûtes
96
3 Clarinettes (trio)
89
2 Hautbois (duo)
85
Trio de Flûtes: 3 flûtes
75
Flûte à Bec
74
Saxophone Soprano
68
Ensemble de Clarinettes
67
3 Saxophones (trio)
64
Flûte à bec Soprano
60
Ensemble de Flûtes
60
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53
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53
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46
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45
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42
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40
Ocarina
38
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38
Flûte à bec Alto
31
Ensemble De Flûte à bec
31
Flûte, Hautbois, Clarinette (trio)
28
Flûte, Violon
27
Cor anglais, Piano
26
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24
Flûte, Violon, Piano
23
Clarinette Basse, Piano
23
Saxophone Baryton
22
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22
Flûte à bec Tenor
22
Quintette de Flûte : 5 flûtes
21
Flûte, Clarinette et Basson
18
Saxophone, Clarinette (duo)
18
Quatuor de Flûtes à bec
18
Flûte, Clarinette, Cor, Basson (Quartet)
15
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14
2 Flûtes traversières, Piano
12
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11
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11
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10
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10
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10
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10
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9
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8
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
8
Flûte, Saxophone (duo)
8
Flûte, Violoncelle
8
Clarinette, Guitare (duo)
8
Hautbois, Clarinette, Basson (trio d'anches)
8
Hautbois, Flûte
8
Saxophone et Guitare
7
Flûte, Violon et Violoncelle
7
Flûte, Alto et Piano
6
Flûte, Trompette (duo)
6
Flûte, Hautbois, Basson
5
Clarinette Basse
5
2 Clarinettes, Piano
5
Flûte, Trombone (duo)
4
Cornemuse
4
Piccolo
4
3 Hautbois
4
Cor Anglais
4
Cor anglais, Guitare (duo)
3
Hautbois, violon (duo)
3
Clarinette, Violoncelle (duo)
3
Flûte, trombone et piano
3
Flûte traversière, Orgue (duo)
3
Flute, harpe et violon
3
5 Flûtes à bec
3
Saxophone et Orgue
3
2 Saxophones, Piano
3
Saxophone et Harpe
2
Clarinette, Basson, Piano (trio)
2
Flute, Cor (duo)
2
Hautbois, Violoncelle
2
Saxophone et Piano
2
Flûte, Hautbois, Violon
2
Flûte, Harpe et Violoncelle
2
3 Flûtes à bec (trio)
2
Clarinette, Violoncelle, Piano (trio)
2
2 Flûtes à bec, Piano
2
2 Flûtes traversières, Harpe
2
Clarinette, Trombone (duo)
2
Flûte irlandaise
2
Hautbois et alto (duo)
2
Flûte, Violon, Violoncelle et Piano
1
2 Cors Anglais Et Pianoforte
1
Clarinette, Orgue
1
4 Hautbois
1
Flûte, Tuba (duo)
1
Clarinette, trompette et piano
1
Ensemble à vent
1
Clarinette, Orchestre
1
Flûte, Hautbois, Piano (trio)
1
Flûte à bec, Guitare (duo)
1
Hautbois, Harpe
1
Flûte à Bec, Piano
1
Piccolo, Piano
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Clarinette, Alto et Piano (trio)
1
Hautbois, Basson et Piano
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
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CUIVRES
Quatuor de Cuivres : 2 trompettes, trombone, tuba
826
Trompette
694
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512
Trombone
507
Trompette, Piano
464
Trombone et Piano
418
Cor et Piano
393
Cor
325
Quatuor de Cuivres
315
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277
Trombone (partie séparée)
233
Tuba et Piano
198
Tuba
159
2 Trompettes (duo)
131
2 Trombones (duo)
119
Quatuor de Cuivres: 2 trompettes, Cor, trombone
96
2 Cors (duo)
75
Bass Clef Instruments
70
Trompette, Trombone (duo)
61
Cor (partie séparée)
56
Trio de Cuivres
48
2 Tubas (duo)
47
Instruments en Sib
45
Quatuor de cuivres: 4 trombones
42
Tuba (partie séparée)
40
Trompette, Cor (duo)
37
Euphonium, Piano (duo)
36
Ensemble de Trompettes
34
Cor anglais, Piano
26
Trompette, Saxophone (duo)
24
Ensemble de Trombones
21
3 Trombones (trio)
15
2 Euphoniums et 2 Tubas
15
3 Trompettes (trio)
14
Instruments en Fa
12
4 Tubas
10
Euphonium
9
Tuba et Orgue
8
2 Trompettes, Clavier (piano ou orgue)
8
Quatuor de cuivres: 2 trompettes, 2 trombones
7
Quatuor de cuivres: 4 cors
7
Ensemble de Cors
6
Trombone basse et Piano
5
Trompette, Violoncelle et Piano
5
Trombone, Orgue
4
Cor Anglais
4
Cor anglais, Guitare (duo)
3
Quatuor de cuivres: 4 trompettes
3
2 Cors, Piano
3
Trompette, Harpe
2
Cor et Harpe
2
Clarinette, Cor (duo)
2
2 Euphoniums (duo)
1
2 Cors Anglais Et Pianoforte
1
Trompette, Basson (duo)
1
2 Trombones, Piano
1
Trombone basse
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Tuba ou Euphonium ou Saxhorn
1
Trompette et Guitare
1
Trompette, Tuba (duo)
1
Ensemble de Tubas
1
Trombone, Violon (duo)
1
Trompette, Trombone, Piano
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2642
Harpe
2176
Violon
903
Violon et Piano
761
Violoncelle, Piano
528
Violoncelle
492
Violon, Violoncelle (duo)
412
Alto, Piano
407
Alto seul
403
Trio à Cordes: violon, alto, violoncelle
328
Quintette à cordes: 2 violons, alto, violoncelle, basse
271
2 Violons (duo)
243
Contrebasse, Piano (duo)
219
Harpe, Flûte (duo)
172
Contre Basse
154
2 Violoncelles (duo)
145
Violon (partie séparée)
132
Violon, Alto (duo)
117
2 Altos (duo)
109
Contrebasse (partie séparée)
90
Alto (partie séparée)
84
Trio à Cordes: 2 violons, violoncelle
55
Violoncelle (partie séparée)
53
2 Harpes (duo)
47
2 Contrebasses (duo)
44
Piano Trio: Violon, Alto, Piano
39
4 Violoncelles
34
Quatuor à cordes: 4 violons
31
Alto, Violoncelle (duo)
27
Trio à cordes: 3 violins
25
Violon, Guitare (duo)
18
Trio à cordes
17
Harpe, Violon (duo)
15
Trio à Cordes: 3 violoncelles
13
Quintette à cordes : 2 violons, alto et 2 violoncelles
13
Ensemble de Violons
13
Violoncelle , Guitare (duo)
12
Harpe, Voix
11
Harpe et mandoline
10
Ensemble d'Altos
10
Violoncelle, Orgue
9
2 Violons, Piano
9
Trio à cordes: 3 altos
8
Alto et Harpe
7
Quintette à cordes: 2 violons, 2 altos, violoncelle
7
Harpe (partie séparée)
5
Harpe, Violoncelle (duo)
5
Trio à Cordes: 2 violons, alto
5
Alto, Orgue
3
Violon, Basson (duo)
3
Alto, Guitare (duo)
3
Violon, Clarinette, Piano (trio)
2
Violoncelle, Contrebasse (duo)
2
Harpe et Piano
1
Quatuor à cordes : 4 altos
1
Alto et Basson
1
Violoncelle, Orchestre
1
Violon, Orgue
1
Harpe, Violon, Violoncelle
1
Violon, Tuba (duo)
1
4 Contrebasses
1
2 Altos, Piano
1
3 Harpes
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
1282
Orchestre
586
Ensemble Jazz
521
Orchestre à Cordes
433
Batterie
369
Fanfare
303
Ensemble de cuivres
234
Cloches
224
Orchestre de chambre
144
Jazz combo
95
Percussion (partie séparée)
64
Ensemble de Percussions
54
Batterie (partie séparée)
51
Marimba
39
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
23
Vibraphone
22
Percussion
17
Xylophone, Piano
11
Timbales (partie séparée)
8
Xylophone
8
Timbales
6
Piano et Orchestre
4
Ensemble d'École
2
2 Xylophones
2
Quintette de Cuivres: autres combinaisons
1
Quintette à Vent
1
Quatuor à Vent : 4 instruments à vents
1
Xylophone ou Marimba ou Vibraphone
1
Orchestre, Violon
1
Xylophone (partie séparée)
1
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My First Concert
Trompette
Trumpet (B) and piano - easy to intermediate - Digital Download 26 Easy Concert Piece…
(+)
Trumpet (B) and piano - easy to intermediate - Digital Download 26 Easy Concert Pieces from 5 Centuries. This edition: Sheet music. Trompete, Blasinstrument, Konzert. My first Concert. Downloadable. Schott Music - Digital #Q54864. Published by Schott Music - Digital
To every young musician, the first concert is a special experience. The choice of the 'right' performance piece is of vital importance: It should be technically and musically manageable, make a strong impression and give great pleasure in practising.<br> The edition .My First Concert .contains easy pieces for trumpet in B flat and piano for music lessons and first auditions. The selection of the works invites the performer on a trip through various music epochs - starting from 16th-century music via Baroque, Classical and Romantic to contemporary music. The musical journey through time ends in pleasant, modern pieces from the areas of pop and rock music which would add variety to lessons.<br> Most pieces can be played after 1-2 years of music lessons. .The edition also contains an easy piano part for accompaniment. It is deliberately kept simple so that the piano accompaniment can also be played by students - for example at concerts in music schools or at competitions.To every young musician, the first concert is a special experience. The choice of the 'right' performance piece is of vital importance: It should be technically and musically manageable, make a strong impression and give great pleasure in practising.<br> The edition .My First Concert .contains easy pieces for trumpet in B flat and piano for music lessons and first auditions. The selection of the works invites the performer on a trip through various music epochs - starting from 16th-century music via Baroque, Classical and Romantic to contemporary music. The musical journey through time ends in pleasant, modern pieces from the areas of pop and rock music which would add variety to lessons.<br> Most pieces can be played after 1-2 years of music lessons. .The edition also contains an easy piano part for accompaniment. It is deliberately kept simple so that the piano accompaniment can also be played by students - for example at concerts in music schools or at competitions.
$16.99
15.53 €
#
Trompette
#
My First Concert
#
Schott Music - Digital
#
SheetMusicPlus
My First Concert
Trompette
Trumpet in C - easy - Digital Download 26 Easy Concert Pieces from 5 Centuries. This …
(+)
Trumpet in C - easy - Digital Download 26 Easy Concert Pieces from 5 Centuries. This edition: PDF. Trompete, Blasinstrument, Konzert. My first Concert. Downloadable. Schott Music - Digital #Q47091. Published by Schott Music - Digital
To every young musician, the first concert is a special experience. The choice of the 'right' performance piece is of vital importance: It should be technically and musically manageable, make a strong impression and give great pleasure in practising.<br> The edition .My First Concert .contains easy pieces for trumpet in B flat and piano for music lessons and first auditions. The selection of the works invites the performer on a trip through various music epochs - starting from 16th-century music via Baroque, Classical and Romantic to contemporary music. The musical journey through time ends in pleasant, modern pieces from the areas of pop and rock music which would add variety to lessons.<br> Most pieces can be played after 1-2 years of music lessons. Approaching the works is made easier by the enclosed CD which contains all pieces as a demo version and as a play-along version with just piano accompaniment. The edition also contains an easy piano part for accompaniment. It is deliberately kept simple so that the piano accompaniment can also be played by students - for example at concerts in music schools or at competitions.To every young musician, the first concert is a special experience. The choice of the 'right' performance piece is of vital importance: It should be technically and musically manageable, make a strong impression and give great pleasure in practising.<br> The edition .My First Concert .contains easy pieces for trumpet in B flat and piano for music lessons and first auditions. The selection of the works invites the performer on a trip through various music epochs - starting from 16th-century music via Baroque, Classical and Romantic to contemporary music. The musical journey through time ends in pleasant, modern pieces from the areas of pop and rock music which would add variety to lessons.<br> Most pieces can be played after 1-2 years of music lessons. Approaching the works is made easier by the enclosed CD which contains all pieces as a demo version and as a play-along version with just piano accompaniment. The edition also contains an easy piano part for accompaniment. It is deliberately kept simple so that the piano accompaniment can also be played by students - for example at concerts in music schools or at competitions.
$3.99
3.65 €
#
Trompette
#
My First Concert
#
Schott Music - Digital
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.93 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
My blue Violin
Violon et Piano
18 Swinging and Jazzy Pieces. Composed by Joachim Johow. This edition: Sheet music. …
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18 Swinging and Jazzy Pieces. Composed by Joachim Johow. This edition: Sheet music. Rock, Pop, Jazz. Downloadable. Schott Music - Digital #Q54345. Published by Schott Music - Digital
My blue violin draws both musicians and listeners into the world of swing and jazz. Fast cheerful pieces alternate with pensive ones. Titles like My Cat and Me or Die Radtour [The Bicycle Ride] make the poetry of small things resound. Like a musical diary, they make us notice the beautiful things in everyday life. The pieces are of easy to intermediate difficulty and suitable for performances as well as music lessons.My blue violin draws both musicians and listeners into the world of swing and jazz. Fast cheerful pieces alternate with pensive ones. Titles like My Cat and Me or Die Radtour [The Bicycle Ride] make the poetry of small things resound. Like a musical diary, they make us notice the beautiful things in everyday life. The pieces are of easy to intermediate difficulty and suitable for performances as well as music lessons.
$16.99
15.53 €
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Violon et Piano
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Joachim Johow
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My blue Violin
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Schott Music - Digital
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SheetMusicPlus
The Organ Music of Fred Bock
Orgue
Organ SKU: HL.8738397 Volume 1: Six Hymn Tunes. Composed by Fred Bock. Arran…
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Organ SKU: HL.8738397 Volume 1: Six Hymn Tunes. Composed by Fred Bock. Arranged by Fred Bock. Organ. Fred Bock Publications. General Worship, Sacred. 31 pages. Fred Bock Music Company #BG0889. Published by Fred Bock Music Company (HL.8738397). ISBN 9781934596456. UPC: 073999383973. 9.0x12.0x0.127 inches.With over 30 years of arranging and composing experience as a church music director, arranger, composer, music editor and performer, Fred Bock excels in the ability to add freshness and strength to his settings of traditional hymn tunes. Congregations, as well as the musicians, are sure to value and identify with Mr. Bock's preludes. Includes: Be Thou My Vision * Now Thank We All Our God * Morning Has Broken * and others.
Song List: Now Thank We All Our God (J Cruger) Morning has Broken Jesus, Thou Joy of Loving Hearts (Henry Baker) On Christmas Night (Arr: Fred Bock) Be Thou My Vision LORD'S MY SHEPHERD, THE (ARR: FRED BOCK)
Song List
: Now Thank We All Our God (J Cruger) Morning has Broken Jesus, Thou Joy of Loving Hearts (Henry Baker) On Christmas Night (Arr: Fred Bock) Be Thou My Vision LORD'S MY SHEPHERD, THE (ARR: FRED BOCK)
$12.95
11.84 €
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Orgue
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Fred Bock
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Fred Bock
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The Organ Music of Fred Bock
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Fred Bock Music Company
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SheetMusicPlus
My Father's World
Chorale 2 parties
2-part choir - Digital Download SKU: LX.45-1068K A Jazz Cantata for Two-part Cho…
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2-part choir - Digital Download SKU: LX.45-1068K A Jazz Cantata for Two-part Choir. Composed by Gregg Sewell. Choral Cantatas. 52 pages. Triune Music Inc #e45/1068K. Published by Triune Music Inc (LX.45-1068K). UPC: 000308049213. Text: Stephen Andrews.Combining traditional scriptures with the bright, clean lines of traditional jazz, Gregg Sewell has crafted a work that is beautiful to hear yet easy to learn and perform. Two-part chorals are strongly supported by the moderately difficult accompaniment, giving junior high and high school singers the delicious experience of being a part of some seriously exciting music. If you're looking for a way to challenge and maintain interest, this musical experience is it. Ideally suited for smaller touring choirs. Performance time: 20 minutes.
Song List: Day And Night Growing Things Heavenly Lights In The Beginning Life For The Sea And Sky My Fathers World The Sixth Day
Song List
: Day And Night Growing Things Heavenly Lights In The Beginning Life For The Sea And Sky My Fathers World The Sixth Day
$9.95
9.1 €
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Chorale 2 parties
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Gregg Sewell
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My Father's World
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Triune Music Inc
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SheetMusicPlus
My Country, 'Tis of Thee (SATB)
Chorale SATB
Choir, SATB - Early Intermediate - Digital Download Composed by from Thesaurus Musi…
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Choir, SATB - Early Intermediate - Digital Download Composed by from Thesaurus Musicus. Arranged by Michael Ware. Classical Period, General Worship, Fourth of July, Patriotic, Americana. Octavo. 8 pages. Published by MusicWare Press
Almost any choir across the fruited plain would enjoy singing Michael Ware’s very accessible SATB arrangement of My Country, ’Tis of Thee. It is a pleasant departure from overly complicated patriotic music. Celebrate America in song this coming Memorial Day, 4th of July, or Veterans Day.Almost any choir across the fruited plain would enjoy singing Michael Ware’s very accessible SATB arrangement of My Country, ’Tis of Thee. It is a pleasant departure from overly complicated patriotic music. Celebrate America in song this coming Memorial Day, 4th of July, or Veterans Day.
$2.60
2.38 €
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Chorale SATB
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from Thesaurus Musicus
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Michael Ware
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My Country, 'Tis of Thee
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MusicWare Press
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SheetMusicPlus
My First Concert
Violoncelle, Piano
Cello and piano - very easy to easy - Digital Download 25 Easy Concert Pieces from 5 …
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Cello and piano - very easy to easy - Digital Download 25 Easy Concert Pieces from 5 Centuries. This edition: score and part. Vortragsstucke, Unterricht, Cello. My first Concert. Downloadable. Schott Music - Digital #Q25484. Published by Schott Music - Digital
The present volume contains a selection of very easy recital pieces for violoncello and piano which can be played in the first position after 1-2 years of cello lessons. The selected pieces are original works from the Renaissance period to the present day: from the Baroque minuet, the classical sonatina or the Romantic character piece to contemporary music and tango, blues or pop. The pieces are suitable for individual, group and chamber music lessons, for practising on one's own and especially for the first auditions, concerts or competitions. A musical journey through 500 years of cello music!The present volume contains a selection of very easy recital pieces for violoncello and piano which can be played in the first position after 1-2 years of cello lessons. The selected pieces are original works from the Renaissance period to the present day: from the Baroque minuet, the classical sonatina or the Romantic character piece to contemporary music and tango, blues or pop. The pieces are suitable for individual, group and chamber music lessons, for practising on one's own and especially for the first auditions, concerts or competitions. A musical journey through 500 years of cello music!
$12.99
11.88 €
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Violoncelle, Piano
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My First Concert
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Schott Music - Digital
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SheetMusicPlus
Melodies
Orchestre
Orchestra - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: stu…
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Orchestra - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: study score. Music Of Our Time. Downloadable. Duration 12 minutes. Schott Music - Digital #Q23904. Published by Schott Music - Digital
I composed the orchestral piece Melodien in 1971. I tried to loosen up the dense micropolyphony of my musical language, to make it more transparent. Basically, I stayed true to my earlier style: the musical form unfolds like a stretched fabric in the continuously flowing time, but the individual voices no longer merge (as in my earlier music), rather they can be heard individually in their overlapping and interweaving . The voices become individual melodies, with their own style, their own tempo, rhythm and interval structure. If you listen to the work for the first time, it appears as a chaos of discrepant melodies - but if you know the music better, the internal connections become tangible, the hidden harmonic skeleton of the form becomes tangible. (Gyorgy Ligeti)<br> <br> This facsimile edition offers an impressive access to the composer's work. A study score in modern notation is also available.I composed the orchestral piece Melodien in 1971. I tried to loosen up the dense micropolyphony of my musical language, to make it more transparent. Basically, I stayed true to my earlier style: the musical form unfolds like a stretched fabric in the continuously flowing time, but the individual voices no longer merge (as in my earlier music), rather they can be heard individually in their overlapping and interweaving . The voices become individual melodies, with their own style, their own tempo, rhythm and interval structure. If you listen to the work for the first time, it appears as a chaos of discrepant melodies - but if you know the music better, the internal connections become tangible, the hidden harmonic skeleton of the form becomes tangible. (Gyorgy Ligeti)<br> <br> This facsimile edition offers an impressive access to the composer's work. A study score in modern notation is also available.
$22.99
21.02 €
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Orchestre
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Gyorgy Ligeti (1923-2006)
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Melodies
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Schott Music - Digital
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SheetMusicPlus
My Music Practice Journal
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Marimba,Oboe,Piano,Tr…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Marimba,Oboe,Piano,Trumpet,Viola,Violin,Xylophone - Level 1 - Digital Download SKU: A0.981989 Composed by Victoria Voronyansky. Instructional. Score and parts. 40 pages. Volidera Musica #6447573. Published by Volidera Musica (A0.981989). Dear Students, Parents, and Teachers!The purpose of this journal is to help build a framework for practice sessions within which a young musician can thrive. By filling out a weekly planner and a daily practice journal, student is encouraged to plan, reflect, identify problems, and set goals. Younger students may need help filling out the daily journal and for their teacher to assist in organizing the weekly planner, but over time student can get into a habit of writing in the journal independently.Every new song or unfamiliar skill will present different challenges, but with this practice journal a student can tackle each obstacle and celebrate every advance, while keeping track of progress, thinking about what works and what needs to change, all framed in a friendly and flexible manner. This journal is intended to allow students to follow their own path, advance at a pace which is most natural for them, and feel positive about their progress on the instrument.Keep Practicing and Enjoy your musical journey!Victoria Voronyanskywww.redviola.comhttps://www.youtube.com/redviolaVictoria
$9.99
9.13 €
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filling out a weekly planner and a daily practice journal, student is encouraged to plan, reflect, identify problems, and set goals
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Victoria Voronyansky
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My Music Practice Journal
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Volidera Musica
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SheetMusicPlus
My Music
Chorale 3 parties
Chorus - Digital Download SKU: AX.00-PO-0001680 My Music - SSA. By Loggins a…
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Chorus - Digital Download SKU: AX.00-PO-0001680 My Music - SSA. By Loggins and Messina. By Jim Messina and Kenny Loggins. Arranged by Kirby Shaw. Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0001680. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0001680). UPC: 038081445458.Easy-to-sing harmonies and a repetitive chorus make this 1970s Loggins & Messina classic quick to learn. A fun addition to concerts at any time of year.Inst. Parts Available (choral); Recorded Acc. Available.
$1.90
1.74 €
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Chorale 3 parties
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Loggins and Messina
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Kirby Shaw
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Recorded Acc. Available.
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My Music
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
My Music
Chorale 3 parties
Chorus - Digital Download SKU: AX.00-PO-0001679 My Music - SAB. By Loggins a…
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Chorus - Digital Download SKU: AX.00-PO-0001679 My Music - SAB. By Loggins and Messina. By Jim Messina and Kenny Loggins. Arranged by Kirby Shaw. Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0001679. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0001679). UPC: 038081445441.Easy-to-sing harmonies and a repetitive chorus make this 1970s Loggins & Messina classic quick to learn. A fun addition to concerts at any time of year.Inst. Parts Available (choral); Recorded Acc. Available.
$1.90
1.74 €
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Chorale 3 parties
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Loggins and Messina
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Kirby Shaw
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Recorded Acc. Available.
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My Music
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
My First Schumann
Piano Facile
Piano - easy to intermediate - Digital Download Easiest Piano Pieces by Robert Schuma…
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Piano - easy to intermediate - Digital Download Easiest Piano Pieces by Robert Schumann. Composed by Robert Schumann. This edition: Sheet music. Robert Schumann, Komponist, Biographie. Easy Composer Series. Downloadable. Schott Music - Digital #Q41638. Published by Schott Music - Digital
German.<br> <br> My First Bach and My First Mozart are now followed by a third edition of easy-to-play original works from one of the most important composers of the Romantic era: Robert Schumann. This collection includes pieces from Album for the Young and Scenes from Childhood, enabling young players to experience Romantic piano music for the first time. Ideal for teaching the first use of the pedal, pupils can learn how to play expressively and to distinguish between melody and accompaniment.German.<br> <br> My First Bach and My First Mozart are now followed by a third edition of easy-to-play original works from one of the most important composers of the Romantic era: Robert Schumann. This collection includes pieces from Album for the Young and Scenes from Childhood, enabling young players to experience Romantic piano music for the first time. Ideal for teaching the first use of the pedal, pupils can learn how to play expressively and to distinguish between melody and accompaniment.
$11.99
10.96 €
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Piano Facile
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Robert Schumann
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My First Schumann
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Schott Music - Digital
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SheetMusicPlus
My First Beethoven
Piano Facile
Piano - easy to intermediate - Digital Download Easiest Piano Pieces by Ludwig van Be…
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Piano - easy to intermediate - Digital Download Easiest Piano Pieces by Ludwig van Beethoven. Composed by Ludwig van Beethoven (1770-1827). This edition: Sheet music. Ludwig van Beethoven, Composer, Lessons, Piano, Piano for children, Timeless classics. Easy Composer Series. Downloadable. Schott Music - Digital #Q41858. Published by Schott Music - Digital
German.<br> <br> Ludwig van Beethoven wrote numerous piano pieces to teach to his pupils. Still, today, his works are an integral part of piano lessons.<br> My first Beethoven is perfect for pianists of every age to become acquainted with these works. This volume contains Beethoven's most popular and easiest piano pieces - from the frequently played Sonatinas in G and F major to Fur Elise and the famous Moonlight Sonata. Ideal for music lessons and music-making at home! Great works for little masters!German.<br> <br> Ludwig van Beethoven wrote numerous piano pieces to teach to his pupils. Still, today, his works are an integral part of piano lessons.<br> My first Beethoven is perfect for pianists of every age to become acquainted with these works. This volume contains Beethoven's most popular and easiest piano pieces - from the frequently played Sonatinas in G and F major to Fur Elise and the famous Moonlight Sonata. Ideal for music lessons and music-making at home! Great works for little masters!
$11.99
10.96 €
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Piano Facile
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Ludwig van Beethoven
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My First Beethoven
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Schott Music - Digital
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SheetMusicPlus
My first Grieg
Piano Facile
Piano - easy to intermediate - Digital Download Easiest Piano Pieces by Edvard Grieg.…
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Piano - easy to intermediate - Digital Download Easiest Piano Pieces by Edvard Grieg. Composed by Edvard Grieg (1843-1907). This edition: Sheet music. Grieg - Piano. Easy Composer Series. Downloadable. Schott Music - Digital #Q54431. Published by Schott Music - Digital
German - English.<br> <br> 'My First Grieg' contains a selection of the easier to moderately difficult Lyric Pieces from Op. 12, 38, 43, 47, 54, 68 and 71 as well as three pieces from the Peer Gynt Suites Op. 46 and 55. Including the famous Morning Mood in the original duet version by the composer. Ideal for music lessons and for playing at home. Great works for little masters!German - English.<br> <br> 'My First Grieg' contains a selection of the easier to moderately difficult Lyric Pieces from Op. 12, 38, 43, 47, 54, 68 and 71 as well as three pieces from the Peer Gynt Suites Op. 46 and 55. Including the famous Morning Mood in the original duet version by the composer. Ideal for music lessons and for playing at home. Great works for little masters!
$11.99
10.96 €
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Piano Facile
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Edvard Grieg
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My first Grieg
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Schott Music - Digital
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SheetMusicPlus
My First Tchaikovsky
Piano Facile
Piano - easy to intermediate - Digital Download Easiest Piano Pieces by P. I. Tchaiko…
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Piano - easy to intermediate - Digital Download Easiest Piano Pieces by P. I. Tchaikovsky. Composed by Peter Ilyich Tchaikovsky (1840-1893). This edition: Sheet music. Tchaikovsky, Piano. Easy Composer Series. Downloadable. Schott Music - Digital #Q51827. Published by Schott Music - Digital
German - English.<br> <br> My First Tchaikovsky contains easy and intermediate level piano pieces beginning with a selection from the Album for the Young Op. 39. The pieces from the cycle The Seasons and 12 Pieces of medium difficulty as well as the arrangements from the ballet The Nutcracker with their more demanding piano writing are easy to master by advanced players.<br> <br> Ideal for teaching and playing at home. Great works for little masters!German - English.<br> <br> My First Tchaikovsky contains easy and intermediate level piano pieces beginning with a selection from the Album for the Young Op. 39. The pieces from the cycle The Seasons and 12 Pieces of medium difficulty as well as the arrangements from the ballet The Nutcracker with their more demanding piano writing are easy to master by advanced players.<br> <br> Ideal for teaching and playing at home. Great works for little masters!
$11.99
10.96 €
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Piano Facile
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Peter Ilyich Tchaikovsky (1840-1893)
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My First Tchaikovsky
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Schott Music - Digital
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SheetMusicPlus
My First Bach
Piano Facile
Piano - easy to intermediate - Digital Download Easiest Piano Pieces by J. S. Bach. C…
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Piano - easy to intermediate - Digital Download Easiest Piano Pieces by J. S. Bach. Composed by Johann Sebastian Bach (1685-1750). This edition: Sheet music. Johann Sebastian Bach, Klavier lernen, Piano. Easy Composer Series. Downloadable. Schott Music - Digital #Q24576. Published by Schott Music - Digital
German - English.<br> <br> Learning to play the piano with Bach<br> Easy to intermediate pieces by the master<br> <br> * Bach as a teacher<br> * Easy piano pieces<br> * For beginners with basic knowledge<br> <br> Learn from the master. Johann Sebastian Bach composed countless pieces specifically for his many students. My First Bach contains many of these educational pieces which are, for the most part, arranged in increasing difficulty. Easy two-part chorales and dances are followed by more demanding little preludes, two-part inventions and the first Prelude from the Well-Tempered Clavier.German - English.<br> <br> Learning to play the piano with Bach<br> Easy to intermediate pieces by the master<br> <br> * Bach as a teacher<br> * Easy piano pieces<br> * For beginners with basic knowledge<br> <br> Learn from the master. Johann Sebastian Bach composed countless pieces specifically for his many students. My First Bach contains many of these educational pieces which are, for the most part, arranged in increasing difficulty. Easy two-part chorales and dances are followed by more demanding little preludes, two-part inventions and the first Prelude from the Well-Tempered Clavier.
$11.99
10.96 €
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Piano Facile
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Johann Sebastian Bach
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My First Bach
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Schott Music - Digital
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SheetMusicPlus
I Will Lift Up My Eyes
Chorale SATB
SATB choir, organ - Intermediate SKU: LO.10-1602S Composed by Robert Lau. Choral. S…
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SATB choir, organ - Intermediate SKU: LO.10-1602S Composed by Robert Lau. Choral. Sacred Anthem. Octavo. Sacred Music Press #10/1602S. Published by Sacred Music Press (LO.10-1602S). UPC: 000308038156.SATB/General/Medium - A soaring melody, opulent choral writing, and a flowing organ part combine in this setting of Psalm 121.
Song List: I Will Lift Up My Eyes
Song List
: I Will Lift Up My Eyes
$2.95
2.7 €
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Chorale SATB
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Robert Lau
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I Will Lift Up My Eyes
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Sacred Music Press
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SheetMusicPlus
I Sing of My Lord
Chorale SATB
SATB choir - Easy SKU: LO.S548 Composed by Eugene Butler. Choral. Sacred Anthem, Ho…
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SATB choir - Easy SKU: LO.S548 Composed by Eugene Butler. Choral. Sacred Anthem, Holy Week, Lent. Octavo. Sacred Music Press #S548. Published by Sacred Music Press (LO.S548). UPC: 000308017465.Like an unforgettable folk song, this contemplative work portrays Christ' final hours with expressive simplicity. A familiar choral by Nikolous Decius (O Lamm Gottes) is incorporated and the mood created by this very easy anthem is indelible.
Song List: I Sing Of My Lord
Song List
: I Sing Of My Lord
$2.75
2.51 €
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Chorale SATB
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Eugene Butler
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I Sing of My Lord
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Sacred Music Press
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SheetMusicPlus
This is my Song
Chorale SATB
SATB choir - Intermediate SKU: LO.S550 Composed by Jean Sibelius. Arranged by Dale …
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SATB choir - Intermediate SKU: LO.S550 Composed by Jean Sibelius. Arranged by Dale Wood. Choral. Sacred Anthem. Octavo. Sacred Music Press #S550. Published by Sacred Music Press (LO.S550). UPC: 000308012255.SATB/Opt. Brass quartet (2 Trumpets, 2 Trombones) General. Medium. The beloved theme from Sibelius' FINLANDIA is a stunning arrangement which is frequently performed by the Mormon Tabernacle Choir. Conveying the theme of world unity and peace, the work may be enhanced with optional Brass quartet or performed with organ alone. PP349 - Brass parts.
Song List: This Is My Song
Song List
: This Is My Song
$2.75
2.51 €
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Chorale SATB
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Jean Sibelius
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Dale Wood
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This is my Song
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Sacred Music Press
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SheetMusicPlus
Here, O My Lord
Chorale SATB
SATB choir, organ SKU: LO.10-2778S Composed by Gilbert M. Martin. Choral. Sacred An…
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SATB choir, organ SKU: LO.10-2778S Composed by Gilbert M. Martin. Choral. Sacred Anthem, Holy Communion. Octavo. Sacred Music Press #10/2778S. Published by Sacred Music Press (LO.10-2778S). UPC: 000308067286.Clothed in a fresh, sweeping melody and gracious organ writing, the familiar Horatius Bonar lyrics flow gently and serenely throughout this captivating and elegant anthem, reflecting Jesus' final hours with his disciples in the Upper Room. From the composer's cantata Jesus Alone[55/1072S].
Song List: Here O My Lord
Song List
: Here O My Lord
$2.65
2.42 €
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Chorale SATB
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Gilbert M
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Here, O My Lord
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Sacred Music Press
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SheetMusicPlus
Whate'er My God Ordains is Right
Chorale SATB
SATB choir (a cappella) SKU: LO.E69 Composed by Johann Pachelbel. Arranged by Arthu…
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SATB choir (a cappella) SKU: LO.E69 Composed by Johann Pachelbel. Arranged by Arthur Hardwicke. Choral. Sacred Anthem. Octavo. Sacred Music Press #E69. Published by Sacred Music Press (LO.E69). UPC: 000308015591.
Song List: Whateer My God Ordains Is Right
Song List
: Whateer My God Ordains Is Right
$2.95
2.7 €
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Chorale SATB
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Johann Pachelbel
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Arthur Hardwicke
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Whate'er My God Ordains is Right
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Sacred Music Press
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SheetMusicPlus
my first elements of music theory
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.1032873 Composed by Laura Ranieri. …
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Piano Solo - Level 1 - Digital Download SKU: A0.1032873 Composed by Laura Ranieri. Instructional. Score. 35 pages. Laura Ranieri #6332607. Published by Laura Ranieri (A0.1032873). Questo libro porta i bambini in modo semplice e immediato ai primi concetti fondamentali della teoria musicale. I giovanissimi studenti saranno gradualmente guidati nel mondo musicale in modo giocoso, scientificamente metodico e coinvolgente attraverso spiegazioni ed esercizi. Altri libri integrano questo affascinante percorso didattico e artistico: Il mio primo libro di appunti e Il libro dei giochi musicali DESTINATARI I miei primi elementi di teoria musicale sono ideali per i bambini dai 5 ai 7 anni. concepito per i bambini (dai 4 anni) per essere aiutati sia dall'insegnante di musica che da genitori non necessariamente musicisti.
$5.97
5.46 €
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Piano seul
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Laura Ranieri
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my first elements of music theory
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Laura Ranieri
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SheetMusicPlus
My Music: 1st B-flat Trumpet
Trompette (partie séparée)
1st B-flat Trumpet - Digital Download SKU: AX.00-PC-0015927_T1 1st B-flat Trumpe…
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1st B-flat Trumpet - Digital Download SKU: AX.00-PC-0015927_T1 1st B-flat Trumpet. By Loggins and Messina. By Jim Messina and Kenny Loggins. Arranged by Kirby Shaw. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0015927_T1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015927_T1). UPC: 038081445472.Easy-to-sing harmonies and a repetitive chorus make this 1970s Loggins & Messina classic quick to learn. A fun addition to concerts at any time of year.Inst. Parts Available (choral); Recorded Acc. Available.
$4.00
3.66 €
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Trompette (partie séparée)
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Loggins and Messina
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Kirby Shaw
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Recorded Acc. Available.
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My Music: 1st B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
My Music: 2nd B-flat Trumpet
Trompette (partie séparée)
2nd B-flat Trumpet - Digital Download SKU: AX.00-PC-0015927_T2 2nd B-flat Trumpe…
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2nd B-flat Trumpet - Digital Download SKU: AX.00-PC-0015927_T2 2nd B-flat Trumpet. By Loggins and Messina. By Jim Messina and Kenny Loggins. Arranged by Kirby Shaw. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0015927_T2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015927_T2). UPC: 038081445472.Easy-to-sing harmonies and a repetitive chorus make this 1970s Loggins & Messina classic quick to learn. A fun addition to concerts at any time of year.Inst. Parts Available (choral); Recorded Acc. Available.
$4.00
3.66 €
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Trompette (partie séparée)
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Loggins and Messina
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Kirby Shaw
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Recorded Acc. Available.
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My Music: 2nd B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
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