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Vaughan Williams : The Lark Ascending #Violon #AVANCÉ #Classique #Vaughan Williams #The Lark Ascending #Tomplay

Telechargez la partition Violon The Lark Ascending de Vaughan Williams. Partition pour Duo (Violon-Piano) -- Classique...(+)

11.99€

The Lark Ascending #Orchestre #AVANCÉ #Contemporain #Ralph Vaughan Williams #The Lark Ascending #zephyrwindmusic.com #SheetMusicPlus

Composed by Ralph Vaughan Williams (1872-1958). Arranged by John M. Laverty. 20th Century, Classical. Score and parts. 97 pages. Zephyrwindmusic.com #...(+)

$50.00

The Lark Ascending Solo Flute and Orchestra #Flûte traversière, Orchestre #AVANCÉ #Ralph Vaughan Williams #John M #The Lark Ascending Solo Flute #zephyrwindmusic.com #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.1376125 Composed by Ralph Vaughan Williams. Arranged by John M. Laverty. 20th Century,Classical. 39 pages. Zephyrwind...(+)

$50.00

Ascending Perfect Fourth - Scherzo #Piano seul #AVANCÉ #Contemporain #Christine Donkin #Ascending Perfect Fourth - Sch #Chrisitne Donkin #SheetMusicPlus

Piano Solo - Level 5 - SKU: A0.1452324 Composed by Christine Donkin. Contemporary. Score. 7 pages. Chrisitne Donkin #1031645. Published by Chrisitne Don...(+)

$3.99

Ascending Tritone - for Willa Meyers 05/04/2024 #Piano seul #AVANCÉ #Christine Donkin #Ascending Tritone - for Willa #Chrisitne Donkin #SheetMusicPlus

Piano Solo - Level 5 - SKU: A0.1431919 Composed by Christine Donkin. 21st Century,Contemporary,Contest,Festival. Score. 6 pages. Chrisitne Donkin #10123...(+)

$3.99

Ascending Major Sixth #Piano seul #AVANCÉ #Christine Donkin #Ascending Major Sixth #Chrisitne Donkin #SheetMusicPlus

Piano Solo - Level 5 - SKU: A0.1431922 Composed by Christine Donkin. 21st Century,Contemporary,Contest,Festival. Score. 4 pages. Chrisitne Donkin #10123...(+)

$3.99

Fever Fantasy #Joerg Widmann #Fever Fantasy #Schott Music - Digital #SheetMusicPlus

Piano, string quartet and clarinet in Bb (bassclarinet in Bb) - difficult - SKU: S9.Q6168 Composed by Joerg Widmann. This edition: score and parts. Down...(+)

$55.99

Duettino #Bertold Hummel #Duettino #Schott Music - Digital #SheetMusicPlus

Vibraphone (cymbal, gong, Tamtam) and piano - difficult - SKU: S9.Q11783 For vibraphone (cymbal, gong, tamtam) and piano. Composed by Bertold Hum...(+)

$16.99

Technic Etudes #Guitare #AVANCÉ #Classique #William Bay #Technic Etudes #Mel Bay Publications - Digital Sheet Music #SheetMusicPlus

Guitar (flatpicking) - Advanced - SKU: M0.WBM09EB Composed by William Bay. Classical. All styles. E-book. Mel Bay Publications - Digital Sheet Music #WB...(+)

$12.99

Namucuo #Piano seul #AVANCÉ #Xiaogang Ye #Namucuo #Schott Music - Digital #SheetMusicPlus

Piano - advanced - SKU: S9.Q6436 (Lake Namu). Composed by Xiaogang Ye. This edition: single sheet. Downloadable, single sheet. Op. 53. Duration 5...(+)

$11.99

Ricordi di Napoli No.1 Serenade, op. 83 #Harpe #AVANCÉ #Classique #Elias Parish Alvars #Ricordi di Napoli No.1 Serenad #Amadeus Arte Editions #SheetMusicPlus

Harp - Advanced - Digital Download Composed by Elias Parish Alvars. Romantic Period. Score. 9 pages. Published by Amadeus Arte Editions ...(+)

$6.00

Concerto for Trombone and Piano #Trombone et Piano #AVANCÉ #Mark Narins #Concerto for Trombone and Pian #Gordon Cherry #SheetMusicPlus

Piano,Trombone - Level 5 - SKU: A0.811191 Composed by Mark Narins. 20th Century,Contemporary,Romantic Period. Score and part. 101 pages. Gordon Cherry #...(+)

$27.50

"Allegro" from Eine Klein Nachtmusik (K. 525) - W. A. Mozart - Arranged by John M. Licari (Clarinet #Ensemble de Clarinettes #AVANCÉ #Classique #Wolfgang Amadeus Mozart
#Wolfgang Amadeus Mozart #John M #"Allegro" from Eine #Music Preparation Services #SheetMusicPlus

Woodwind Ensemble Clarinet - Level 5 - SKU: A0.908411 Composed by Wolfgang Amadeus Mozart. Arranged by John M. Licari. Classical,Concert,Standards. 33 p...(+)

Woodwind Ensemble Clarinet - Level 5 - SKU: A0.908411 Composed by Wolfgang Amadeus Mozart. Arranged by John M. Licari. Classical,Concert,Standards. 33 pages. Music Preparation Services #5735847. Published by Music Preparation Services (A0.908411). Allegro from Eine Klein NachtmusikBy Wolfgang Amadeus MozartArranged for Clarinet Choir by John M. LicariMusic Preparation Serviceswww.musicprepservices.comEine kleine Nachtmusik (K. 525), is a 1787 composition by Wolfgang Amadeus Mozart. The German title means a little serenade, though it is often rendered more literally as a little night music. The work is written for an ensemble of two violins, viola, and cello with optional double bass but is often performed by string orchestras. The work was completed in Vienna on 10 August 1787,[2] around the time Mozart was working on the second act of his opera Don Giovanni. This first movement is in sonata-allegro form. It opens with an ascending Mannheim rocket theme. The second theme is more graceful and in D major, the dominant key of G major. The exposition closes in D major and is repeated. The development section begins on D major and touches on D minor and C major before the work returns to G major for the recapitulation.This arrangement has been adapted to accommodate a clarinet choir - 3 Bb Clarinets, and a Bass Clarinet.

$12.99

Invention No. 13, A Minor for violin and cello #Violon, Violoncelle (duo) #AVANCÉ #Classique #Johann Sebastian Bach #Klas Krantz #Invention No. 13, A Minor for #Amadeus Music #SheetMusicPlus

Instrumental Duet Cello,Instrumental Duet,Violin - Level 5 - SKU: A0.1125216 Composed by Johann Sebastian Bach. Arranged by Klas Krantz. Baroque,Classic...(+)

Instrumental Duet Cello,Instrumental Duet,Violin - Level 5 - SKU: A0.1125216 Composed by Johann Sebastian Bach. Arranged by Klas Krantz. Baroque,Classical. Score and parts. 5 pages. Amadeus Music #725997. Published by Amadeus Music (A0.1125216). Score, violin and cello parts.The Inventions and Sinfonias BWV 772-801, also known as the Two- and Three-Part Inventions, are a collection of thirty short keyboard compositions by J. S. Bach (1685-1750): 15 inventions, which are 2-part contrapuntal pieces, and 15 sinfonias, which are 3-part contrapuntal pieces. They were originally written as musical exercises for his students. The two groups of pieces are both arranged in order of ascending key, each group covering eight major and seven minor keys. The inventions were composed in KÃ¶then (1717-23); the sinfonias, on the other hand, were probably not finished until the beginning of the Leipzig (1723-50) period.

$3.95

Invention No. 13 for guitar duo #2 Guitares (duo) #AVANCÉ #Classique #Johann Sebastian Bach #Klas Krantz #Invention No. 13 for guitar du #Amadeus Music #SheetMusicPlus

Instrumental Duet Guitar,Instrumental Duet - Level 5 - SKU: A0.532398 Composed by Johann Sebastian Bach. Arranged by Klas Krantz. Baroque,Classical. Sco...(+)

Instrumental Duet Guitar,Instrumental Duet - Level 5 - SKU: A0.532398 Composed by Johann Sebastian Bach. Arranged by Klas Krantz. Baroque,Classical. Score and parts. 7 pages. Amadeus Music #6065477. Published by Amadeus Music (A0.532398). The Inventions and Sinfonias BWV 772-801, also known as the Two- and Three-Part Inventions, are a collection of thirty short keyboard compositions by J. S. Bach (1685-1750): 15 inventions, which are 2-part contrapuntal pieces, and 15 sinfonias, which are 3-part contrapuntal pieces. They were originally written as musical exercises for his students. The two groups of pieces are both arranged in order of ascending key, each group covering eight major and seven minor keys. The inventions were composed in KÃ¶then (1717-23); the sinfonias, on the other hand, were probably not finished until the beginning of the Leipzig (1723-50) period.

$3.95

Invention No. 8 for guitar duet #2 Guitares (duo) #AVANCÉ #Classique #Johann Sebastian Bach #Klas Krantz #Invention No. 8 for guitar due #Amadeus Music #SheetMusicPlus

Instrumental Duet Guitar,Instrumental Duet - Level 5 - SKU: A0.532399 Composed by Johann Sebastian Bach. Arranged by Klas Krantz. Baroque,Classical. Sco...(+)

Instrumental Duet Guitar,Instrumental Duet - Level 5 - SKU: A0.532399 Composed by Johann Sebastian Bach. Arranged by Klas Krantz. Baroque,Classical. Score and parts. 5 pages. Amadeus Music #6065481. Published by Amadeus Music (A0.532399). The Inventions and Sinfonias BWV 772-801, also known as the Two- and Three-Part Inventions, are a collection of thirty short keyboard compositions by J. S. Bach (1685-1750): 15 inventions, which are 2-part contrapuntal pieces, and 15 sinfonias, which are 3-part contrapuntal pieces. They were originally written as musical exercises for his students. The two groups of pieces are both arranged in order of ascending key, each group covering eight major and seven minor keys. The inventions were composed in KÃ¶then (1717-23); the sinfonias, on the other hand, were probably not finished until the beginning of the Leipzig (1723-50) period.

$3.95

Homage to O'Keeffe for Orchestra #Orchestre #AVANCÉ #Sy Brandon #Homage to O'Keeffe for Orchest #Sy Brandon #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Publi...(+)

Full Orchestra - Level 5 - SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Published by Sy Brandon (A0.755297). This four-movement composition contains musical interpretations of four of Georgia Oâ€™Keeffeâ€™s New Mexico paintings. The score prints on legal size paper and the parts on letter. I. From the Faraway Nearby The highly charged contrast of closely viewed foreground details and hugely distant horizons, which typified the New Mexican Views of O'Keeffe, was not a mere optical illusion. The large scale, bright light, and clear air of the region permitted one to see for the proverbial forever, and the juxtaposition of faraway and nearby was an integral aspect of desert vision. Soft dynamics and orchestration represent the faraway while the loud dynamics and orchestration represent the nearby. Near the end, the faraway and nearby begin to merge. II. Jimson Weed, White Flower No. 1 This painting depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. This movement is slow and lyrical reflecting the beauty of the close-up image. III. Red Hills and Bone O'Keeffe 's most effective composition of bones in the landscape appeared in 1941, with Red Hills and Bone; the large canvas is also among her most ambitions evocations of the arid country of which she was by then an owner, having purchase the house at Ghost Ranch the preceding year. In 1939, O'Keeffe had written of the bones as strangely more living than the animals walking around, and in the 1941 painting her response is given visual from. The minimalistic noodling represents the red hills and the bold triplets represent the mystique of the bone. IV. Ladder to the Moon This painting shows a handmade wooden ladder suspended in the turquoise sky. In the background are the pitch-black Pedernal Mountains and a pearl colored half moon. This painting was very similar to a picture taken of O'Keeffe and her surroundings at Ghost Ranch. In the picture, a large wooden ladder is leaned against an outer wall of a patio from where it rises up into the sky with the Pedernal Mountains in the background. In Pueblo culture the ladder is used to symbolize the link between the Pueblos and cosmic forces. The fact that the ladder is pointed up in the sky may represent the link between nature and the cosmos. While there are motifs that depict specifics of the painting, such as the scale-wise ascending and descending figure for the crescent mood and rising arpeggios for the ladder, the focus of this movement is the spiritual element. The music rises and grows in intensity from a ground bass-like theme to a soaring ending.

$39.99

Interplay #Flûte, Saxophone (duo) #AVANCÉ #Lynn L #Interplay #Lynn L. Petersen #SheetMusicPlus

Flute,Instrumental Duet,Tenor Saxophone - Level 5 - SKU: A0.973237 Composed by Lynn L. Petersen. 21st Century,Chamber,Classical,Contemporary,Contest,Fes...(+)

Flute,Instrumental Duet,Tenor Saxophone - Level 5 - SKU: A0.973237 Composed by Lynn L. Petersen. 21st Century,Chamber,Classical,Contemporary,Contest,Festival. 30 pages. Lynn L. Petersen #4643315. Published by Lynn L. Petersen (A0.973237). Interplay (2011) is a duet for flute and tenor saxophone in three movements. It was inspired by a trip to Glacier National Park in 2010. Its three movements are musical depictions of scenes and formations in the park. Rapid Ascent features ascending arpeggio figures, inspired by sheer cliffs and steep elevations. The lakes and streams in the park are the basis for Rippling Current, which features gentle undulations and subtly changing patterns, reminiscent of kayakers gently paddling across a mountain lake. Jagged Edges suggests the sharply irregular rocky ridgelines through disjunct melodic lines, staccato, and shifting meters.

$12.99

Contrapunctus VI BWV 1080 for Brass Quintet #Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba #AVANCÉ #Classique #Johann Sebastian Bach #Gordon Cherry #Contrapunctus VI BWV 1080 for #Gordon Cherry #SheetMusicPlus

Brass Ensemble - Level 5 - SKU: A0.707842 Composed by Johann Sebastian Bach. Arranged by Gordon Cherry. Baroque,Classical,Renaissance. Score and parts. ...(+)

Brass Ensemble - Level 5 - SKU: A0.707842 Composed by Johann Sebastian Bach. Arranged by Gordon Cherry. Baroque,Classical,Renaissance. Score and parts. 22 pages. Gordon Cherry #4988139. Published by Gordon Cherry (A0.707842). Bachâ€™s Art of Fugue represents a pinnacle of artistic genius. Each of the 14 fugues and canons is a musical miracle using a variation of a single subject from the initial fugue 1. Written in the last years of his life, the final fugue is unfinished. Contrapunctus VI is in four parts and written in Stylo Francese. This style has little flourishes of scale-like 32nd notes ascending and desending along with dotted rhythms, together called the French style. The work is suitable for advanced performers and is about 5-6 minutes in length. Parts are for 2 Trumpets in C (B-flat parts are provided), Horn, Trombone and Tuba (or Bass Trombone).

$25.00

Colour the Mind - Solo for Soprano or Alto Saxophone with Improvisation (optional) #2 Saxophones (duo) #AVANCÉ #Lea Detlefs #Colour the Mind - Solo for Sop #Lea Detlefs #SheetMusicPlus

Instrumental Duet Alto Saxophone,Instrumental Duet,Soprano Saxophone - Level 5 - SKU: A0.1016979 Composed by Lea Detlefs. Concert,Contemporary,Standards...(+)

Instrumental Duet Alto Saxophone,Instrumental Duet,Soprano Saxophone - Level 5 - SKU: A0.1016979 Composed by Lea Detlefs. Concert,Contemporary,Standards,World. Score and parts. 3 pages. Lea Detlefs #6114259. Published by Lea Detlefs (A0.1016979). A wide ranging, effervescent piece great for a recital or encore. Cycles through the key of B flat, E flat, and E major. While originally for soprano sax, alto can also play the music as written and it will simply sound in a lower range from the recording. Trills, quick flourishes of ascending or descending scales, and bending of notes in the high range are some of the beautiful features of this music. This piece was inspired by the many wonderful Indian classical music performances I was able to attend while living in Austin, TX. It is meant to sound like an improvisation, and at one point even invites the player to add their own improvisation. The melodic lines are meant to be evocative of the sitar, while the trills preceded or followed by a short staccato exclamation recall the energetic tabla. This piece is not derived from a raga, but the title pays homage to the idea in classical Indian music that the various raga each bring up certain feelings and associations in the minds of the audience, or in other words, colour the mind.

$3.95

Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga #Chorale SATB #AVANCÉ #Carson Cooman #Carson Cooman: Ascensions #Musik Fabrik Music Publishing #SheetMusicPlus

Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #...(+)

Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604â€“68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Baldeâ€™s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virginâ€™s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virginâ€™s journey, the poem describesthe speakerâ€™s journey and compares a purposeful sea voyage to a directed life.Baldeâ€™s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16â€“24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.

$25.95

Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga #Chorale SATB #AVANCÉ #Carson Cooman #Carson Cooman: Ascensions #Musik Fabrik Music Publishing #SheetMusicPlus

Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #...(+)

Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604â€“68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Baldeâ€™s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virginâ€™s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virginâ€™s journey, the poem describesthe speakerâ€™s journey and compares a purposeful sea voyage to a directed life.Baldeâ€™s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16â€“24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir

$19.95

Naturszenen Op. 3, No. 19 "Der hochfliegende Adler" #Piano seul #AVANCÉ #Michael Swedberg #Naturszenen Op. 3, No. 19 &quo #Niska Music Publishing #SheetMusicPlus

Piano Solo - Level 5 - SKU: A0.1077064 By Michael Swedberg. By Terrence Niska. 20th Century,Classical,Contemporary,Romantic Period. Score. 4 pages. Nisk...(+)

Piano Solo - Level 5 - SKU: A0.1077064 By Michael Swedberg. By Terrence Niska. 20th Century,Classical,Contemporary,Romantic Period. Score. 4 pages. Niska Music Publishing #681206. Published by Niska Music Publishing (A0.1077064). There are few things more majestic than an eagle in flight against an azure skyâ€¦the broad stroke of its wings as it rises and falls on currents of air. It is with an undeniable sense of grace and elegance that it soars through the firmament. From a pianistic standpoint, the left hand provides the imagery of the winds on which the melody, representing the eagle, floats. In fact, once the piece begins it does not stop until the very end. The melody of the right hand is almost piano concerto-like in its approach. At the beginning it is very chordal, stately and grand. But as the piece progresses there are moments of flourish which capture the eagleâ€™s delight as it swoops through the sky, ascending and descending at willâ€¦the master of all that it sees.

$3.99

Curtains for Brass Band and Narrator #Matthew Nunes #Curtains for Brass Band and Na #Matthew Nunes Music #SheetMusicPlus

Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...(+)

Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 5 - SKU: A0.1255512 Composed by Matthew Nunes. Classical,Thriller. Brass Band. 120 pages. Matthew Nunes Music #849018. Published by Matthew Nunes Music (A0.1255512). Listen to this piece hereJessica Mitfordâ€™s incisive 1963 essay Behind the Formaldehyde Curtain is the inspiration for this piece. Mitford dissects the embalming industry while baring the ironies and inhumanities of its processes. First included in her book The American Way of Death, we follow â€œMr. Jonesâ€ from death to burial and experience all the tools, techniques, and abuses in-between. It was required reading for me as a high school junior and a text that grows more haunting with each added birthday candle.Â The piece follows â€œMr. Jonesâ€ on his journey with narrated extracts from Mitfordâ€™s essay. The opening chords are constructed from the pitches D-flat, E-flat, A-flat, and another D-flat, following Igor Stravinskyâ€™s final chord in The Rite of Spring (D-E-A-D). From here the material alternates between chromatically descending, as the corpse nears its final resting place, and ascending, while the embalmers fight to champion death.- Matthew NunesNiceville, July 2020.

$99.99

Sonata No. 6 "Kharkiv", Op. 48 #Guitare #AVANCÉ #Classique #Konstantin Bliokh #Sonata No. 6 "Kharkiv", Op. 48 #Les Productions d'OZ - Digital #SheetMusicPlus

Guitar - Advanced - SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Production...(+)

Guitar - Advanced - SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate nÂ° 6 Kharkiv pour guitare solo a Ã©tÃ© composÃ©e en 2021, Ã la fin du confinement liÃ© au COVID-19. Ã? ce moment-lÃ , ma famille et moi Ã©tions restÃ©s dans notre ville natale de Kharkiv (Ã©galement connue sous le nom de Kharkov), en Ukraine, pendant prÃ¨s de deux ans. Nous considÃ©rions cette pÃ©riode de pandÃ©mie comme un dÃ©sastre, mais nous avons rÃ©alisÃ© plus tard que c'Ã©tait en fait un moment plutÃ´t heureux, car la guerre est arrivÃ©e dans notre pays quelques mois plus tard. Depuis 2022, une fraction considÃ©rable des 1,5 million de citoyens de Kharkiv ont quittÃ© leur foyer, ceux qui sont restÃ©s vivent sous des attaques incessantes de missiles, et beaucoup ont Ã©tÃ© tuÃ©s. Je voudrais dÃ©dier cette Sonate Ã la ville frontaliÃ¨re de Kharkiv et, surtout, Ã ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spÃ©cifique. Ici, je donnerai un bref aperÃ§u de ses principaux Ã©lÃ©ments de composition pour faciliter les interprÃ©tations futures.Les premier et quatriÃ¨me mouvements de cette Sonate sont basÃ©s sur l'interaction entre le principe dodÃ©caphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basÃ© sur l'interaction de la triade de sol majeur Solâ??Siâ??RÃ© des cordes de guitare Ã vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (Ã l'origine sur la premiÃ¨re corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (Ã l'origine sur la corde de basse 6). Ces Ã©lÃ©ments se complÃ¨tent presque pour former douze tons (Ã l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato oÃ¹ chaque note de la triade de sol majeur est dÃ©placÃ©e pas Ã pas d'un demi-ton vers le haut ou vers le bas.Le deuxiÃ¨me mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentuÃ©s et des passages rapides, ainsi qu'un mouvement mÃ©lodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisiÃ¨me mouvement est un Adagio mÃ©ditatif basÃ© sur un thÃ¨me composÃ© dans l'Ã©chelle hexatonique RÃ©â??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse Ã vide Miâ??Laâ??RÃ© et le demi-ton Siâ??Do.Enfin, le quatriÃ¨me mouvement est basÃ© sur le thÃ¨me dodÃ©caphonique complet composÃ© de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??RÃ© et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thÃ¨me est prÃ©sentÃ© dans ses formes prime et rÃ©trograde. Il y a des dialogues entre la premiÃ¨re corde, les basses et les cordes mÃ©dianes Ã vide, similaires au premier mouvement. Ã? son apogÃ©e, le thÃ¨me dodÃ©caphonique est interprÃ©tÃ© en utilisant le mouvement parallÃ¨le de l'accord de sol majeur standard de la guitare avec les cordes mÃ©dianes Ã vide sur douze positions.La Sonate a Ã©tÃ© crÃ©Ã©e en premiÃ¨re et enregistrÃ©e (CD Naxos No. 8.574630) par le cÃ©lÃ¨bre guitariste ukrainien Marko Topchii, qui a Ã©galement vÃ©cu et Ã©tudiÃ© Ã Kharkiv. Je lui suis extrÃªmement reconnaissant pour l'interprÃ©tation brillante de cette piÃ¨ce.Je suis trÃ¨s redevable envers Productions d'Oz d'avoir conservÃ© mes notations originales lÃ oÃ¹ celles-ci ne correspondent pas au style de l'Ã©diteur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.

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