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This Could Be The Start Of Something Big
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1008457 Composed b…
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Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1008457 Composed by Steve Allen. Arranged by Kirk Schmidt. Contemporary. Score and parts. 54 pages. Kirk Schmidt #4810227. Published by Kirk Schmidt (A0.1008457). This is my concert style arrangement of Steve Allen's This Could Be The Start Of Something Big. It's fast and plays best if counted in two because we have (2) transitions to 6/8 (march) and back again to 4/4 (swing). By counting in TWO the transition is easier because the downbeats remain the same.There are ad lib solos for the Tenor I Sax, Trombone II, Alto II, Trumpet II and Guitar. At the end we have a rallentando leading to (2) fermatas, the 1st long and the 2nd longer. This is a chance to feature the drummer with solo fills. Separate the fermatas with RR tracks, please. Following the latter fermata and RR tracks, the last 4 bars are back up to tempo!
$65.00
59.43 €
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Ensemble Jazz
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counting in TWO the transition is easier because the downbeats remain the same
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Steve Allen
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Kirk Schmidt
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This Could Be The Start Of Something Big
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Kirk Schmidt
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SheetMusicPlus
We'll Be Together Again
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.880137 By Frankie Laine. B…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.880137 By Frankie Laine. By Carl Fischer. Arranged by Scott Kitzmiller. A Cappella,Jazz,Standards. Octavo. 4 pages. Scott W. Kitzmiller #4804611. Published by Scott W. Kitzmiller (A0.880137). A cappella arrangement of the jazz standard, SATB. Recorded by the 2015 Barbershop Harmony Society International Champion quartet, Instant Classic and guests, on their CD titled Start of Something Big. Learning tracks are available at https://kitztracks.com/track/well-be-together-again/ My contact info is at https://scottkarrangements.com Suitable for medium ability High School mixed choirs and higher. Ad lib ballad, duration 3:15.
$4.50
4.11 €
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Chorale SATB
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Frankie Laine
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Scott Kitzmiller
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We'll Be Together Again
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Scott W. Kitzmiller
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SheetMusicPlus
Carson Cooman: Shining Space: Quintet for Horn and Strings (2006)
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533698 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533698 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik Music Publishing #3038887. Published by Musik Fabrik Music Publishing (A0.533698). Shining Space: Quintet for Horn and Strings (2006) was commissioned by and is dedicatedto Hazel Dean Davis and Stephen Hackbarth on the occasion of their marriage, June 24, 2006.The work was premiered by James Sommerville, horn with Sarah Kapustin and FrancescaAnderegg, violins, Nathan Burke, viola, and Peter Lorenzo Anderegg, cello.The basic musical material for the work is a set of intervals which is gradually “expandedoutward†– moving from close dissonance to luminous consonance. This could be seen torepresent a sense of freedom, growth, and a bright future.The first movement, Bright Morning Sky, begins vibrantly with ecstatic ringing in the higherstrings. The cello presents the work’s basic pitch material in dramatic gestures. The hornthen enters: first abortively and then affirmatively – changing the texture to focus on itself.The horn continues lyrical melodic development while the strings react, dissipating theirinitial energy. Nervous tremolos in the strings start to build back energy again, leading to awild climax. The music then relaxes into the next section marked “Slow, suspended.†Thehorn and strings interact melodically, supported by luminous harmonies. The nervoustremolos return, regaining energy towards the coda. The work ends with the ecstatic ringingof the opening – but,this time, the harmonic material is open and bright.The second movement, I Am the Vine, is serene and expressive – consisting of a series ofcanons which develop, break-off, and start again. The canons are almost always in twovoices – representing two lives intertwining.The third movement, Chasing Windflower, returns to the energy of the opening movement.However, the harmonic language begins this time with the open sonorities. Darker colors(from the first movement) continue to interject, but are always overwhelmed by a sense offree-wheeling excitement. The work presses on to an ecstatic coda – with a sense ofunfettered joy.
$38.95
35.61 €
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Orchestre de chambre
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Carson Cooman
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Carson Cooman: Shining Space: Quintet for Horn and Strings
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Musik Fabrik Music Publishing
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SheetMusicPlus
Brass Quintet - Three Pastoral Sketches
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Services #6422239. Published by Lyons Music Services (A0.767578). These three pieces form a small suite, linked by the idea of ‘pastoral’ or rustic situations and places. The first piece to be written now forms the middle movement, though at first it was the starting point. This is not easy music. It travels through several keys with large numbers of sharps and flats and in places the time signature shifts constantly. The first movement is modal, being based on the mixolydian and dorian modes. I took for this movement the idea of ancient Celts celebrating a victory and dancing and getting drunk around a smoky fire. Their chieftain strikes up a song, accompanied by a double drone. This melody is initially stated on the horn, with just two other instruments providing the accompaniment. At 4 before B, the remaining instruments join in, providing a rhythmic pulse and the melody moves to the Euphonium/Baritone/Trombone. Subtle variations shape the melody anew, leading to letter C. Here the complex overlapping rhythms provide a more dance-like feel to the music. Also, countermelodies start to appear which build the excitement. At letter E, the music becomes louder and the rhythmic pulse more insistent (perhaps they are dancing on the tables?) The mode changes to the more major sounding mixolydian. But from here on in, the revellers are starting to wend their way home, still singing and dancing and they gradually fade into the distance. At letter G, we’re back to three players, but with the trumpet 1 playing a rhythmic melody over the top of the original tune. The second movement is called The Aesthetes. The aesthetic movement was formed in the 19th century, but had been around before that in less formal garb. Their ideal was to emulate the Ancient Greeks and Romans – or at least their perception of what the ancients were like as found in statues, paintings and friezes. They adopted studied poses and were very effete in their mannerisms. Gilbert and Sullivan parodied the aesthetic movement in their operettas – particularly Princess Ida (but also in the Mikado and various others). So, here is a movement with classical lines in the style of a minuet, but in 6/8 rather than ¾ so that it can be more languid. All the melodies are ‘studied’ and ‘formal’ with long, languid notes and rhythms which don’t quite fit to the beat as the aesthetes pose and ponder and languidly look, studied and pale and wan. Because of the long notes in the melody, there’s an almost dream-like quality to the music as if they are seeing through a haze of Wormwood or Absinthe (a favourite drink of the aesthetes when they weren’t high on themselves or opiates). The third and final movement is called The Bohemians. This was also a movement at the end of the 19th Century. Where the aesthetes were ruled by rules, the Bohemians lived by none. They were considered wild and unconventional to say the least. The Bohemians movement owed much to the supposed free life and style of the gypsies and wanderers of Europe. Our piece starts with a gypsy violin style opening, including a cadenza, and then moves into the rapidly time shifting and gyrating gypsy dance. This section is in alternating bars of 5/8 and 6/8 with occasional 11/8 thrown in to keep you off balance. The frantic and frenetic movement continues up to letter F where things calm down a little – but not for long as the intensity increases again from Letter H to the quite sudden ending. This is tuneful yet challenging music which will take a lot of effort, but which will give a lot back in return.
$28.00
25.6 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Mike Lyons
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Brass Quintet - Three Pastoral Sketches
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Lyons Music Services
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SheetMusicPlus
Gravity for Septet
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.1027778 Composed by Mohamm…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.1027778 Composed by MohammadHadi Ayanbod. 20th Century,Contemporary. Score and parts. 25 pages. Rimorarte Edition #5996957. Published by Rimorarte Edition (A0.1027778). In GRAVITY I explored different gravities as forces we not only feel them in every moments of our lives, but also thinking of living without or escaping from them seems impossible. Likewise, those gravities exist in the music, make us feel the music continuous, desirable, logical and an integrated language of art. The exploration of the path from chaos to unity, and from unity to multiplicity, is where the title came from. GRAVITY consists of two main sections. The first section, which shows the fully-grown and flourished musical ecosystem, and the second part; a flashback to just after big-bang, which tries to musicalize the creation of the gravity! In the first section, I’ve used the concept of horizontal and vertical minimalism. At the very beginning of the piece we have a structure that bring the idea of the vertical minimalism out. In every moment, each instrument plays the same note as others. However, the narrative line is divided into different octaves, so, the melody is not the same in spite of the fact that each instrument plays the same tone. This structure also reminds the paradoxical ladder or optical staircase illusion. The narration is built up until it reaches temporal climax. At the same time, this melody starts again from the beginning with some microscopic differences visible vividly to musicians. This semi reciprocating musical narration, could be observed as a musical example of the staircase illusion. After this part, but still in the first section of the music, I’ve used the horizontal (traditional) minimalism idioms to explore the bounding forces present in the music. Although, what interesting here is the creation of synthetic voices which is the result of different amounts of the nuances and different combinations of the sound. For keen ears, it seems like shades of neon lights, penetrate into one another in the scale of time and create a big picture of micro fluctuating objects. In the second section or just after big-bang, I’ve observed and recreate musically, the very moment of creation of the gravity just after the big-bang. Here, we don’t have melody, rhythm, structure, narration and other aspects of the music in the traditional way, although all of them are present in the music. very single sound or noise is meaningful and showing the assemblage process of the forces in the music to create a melody line. I’ve occupied idioms of contemporary Sonorism genre to create the atmosphere. This highly complex texture shows the virtuosity of interpreters and the capability of the instruments in avant-garde literature and extended techniques. The music is concluded by a fast-tempo finale, with the instruction of fortissimo possiblile (as loud as possible). The piece, in fact, will not be finished as a morendo, but, it opens a space for hypothetically living structure; constantly grows, flourishes, shines and decays.
$16.99
15.53 €
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Ensemble de Percussions
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MohammadHadi Ayanbod
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Gravity for Septet
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Rimorarte Edition
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SheetMusicPlus
A Week in November - Sally Whitwell
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.873046 Composed by Sally Whitwell. …
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Piano Solo - Level 5 - Digital Download SKU: A0.873046 Composed by Sally Whitwell. Contemporary. Score. 11 pages. Sally Whitwell #6119391. Published by Sally Whitwell (A0.873046). A Week in November… and what a week it was! It was the week of the US Presidential Election 2020. As I write these words, the absurdist tantrums of the Trump-Pence campaign versus the reasoned compassion of team Biden-Harris continues even well after the results have been called in the Democrats’ favour. There will not be the usual respectful concession speech and transition of power. I worry every day about how these next few months will be so very difficult, maybe even dangerous, for my American friends. Those convoys of flag waving Trumpists gleefully, openly, encouraged by their ‘leader’, attempting to block the democratic process was horrifying to witness. Was America on the brink of civil war? It still doesn’t seem far fetched to think that as I sit in my studio on the other side of the world, feeling helpless. The only thing I felt that I could do for my friends over there was to offer them a way to feel safe and loved in the moment, a bit of musical mindfulness. It was in this spirit that I wrote the second movement of this work, subtitled A Pocket Full of Calm. My excellent pianist friends Erica Sipes (USA) and Sandra Mogensen (Canada) adopted my little tune, recorded it on their social media to share said moment in the moment as it were. I hope it helped. I mean, if I can bring to even just one person some sense of calm solidarity, I’m happy with that. The fifth movement in the set, Victorious, resolute, but gracious, was a stream-of-consciousness creative response to the Biden Harris victory and the way they handled it so eloquently, so humbly, how they gave the world a sense of optimism once more. For a long while, I’d felt that I probably wouldn’t be welcome in America. As a mixed race, queer woman I was the antithesis of everything they valued. But now, people like me over there can feel human again. The relief! As for the other days of that week in November, they are part of a continuing series of daily composition exercises I started back in October in an effort to end a lengthy period of pandemic-induced creative block. Using a combination of exercises from Music Composition Toolbox (Barbeler/Blom/Hindson) and Brian Eno’s Oblique Strategies I’ve been able to find my creativity again. Starting a composition ‘habit’ is the best thing I’ve done for my writing all year and is how I mean to continue for a long time. Sally Whitwell12 November 2020
$15.00
13.71 €
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Piano seul
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Sally Whitwell
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A Week in November - Sally Whitwell
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Sally Whitwell
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SheetMusicPlus
Duplicitous Heart
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1015500 Composed by Dakota Anthony.…
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Piano Solo - Level 5 - Digital Download SKU: A0.1015500 Composed by Dakota Anthony. Contemporary. Score. 13 pages. Dakota Anthony #4785575. Published by Dakota Anthony (A0.1015500). This is a 5-6 minute long piano solo piece that uses styles from blues, jazz, and contemporary genres. If you have questions please contact me at one of the following:Facebook page- https://www.facebook.com/dakanthony1Email- dakanthony1@gmail.comI write a poem for all of my songs. Hopefully it helps give a little meaning to its purpose!One songIt just takes one song to move myself to another world,And my heart beats faster.One songMakes me feel I can conquer every problem-All the world's disasters.One songIt makes my heart break and mend itself overAnd overAnd overUntil it's a whole new heartWith a whole new stature.One songI hear joy. I hear peace.But it's all for myself.It doesn't even matter.One songI don't know how to share what I hear.One songSo what I hear disappears.One songTurns to none, so I fear,And try to find another one songThat I can hold dear.One song,But it all happens again.One songBreaks a heart that's already bee mendedBy the first one song,And the heart's offended.Now there's two songs;The one song has ended.Two songs Clash and pretend thatTwo songsAre unique but they can't be - insteadTwo songsAffected the same heart.With two songsThe first's uniqueness is upended.Two songsSplit the heartHalf as powerfulAs the start,So I need another two one songsTo double the power.But the result is the same, And the dilution gets stronger.And what was difficult to share initiallyBecomes impossible because my heart isn't free.It's torn into a million piecesEach tied to a one song, each song with the thesisThat I want to share my songs to everyoneBecause of how it broke and mended my heart.But too many songs made my heart hardenedUntil the songs hardly affect a heart - just scar it.By the time I learn how to share any songThey'll all be goneJust the heart's shadow of what it longed to share.So I watch others to see if my one song was a myth.They all have one songs creating the semblance of mended heart.So my one song could only make another heart splitDiluting their one song to half as powerful as its start.
$7.99
7.3 €
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Piano seul
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Dakota Anthony
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Duplicitous Heart
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Dakota Anthony
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SheetMusicPlus
The Spear of Destiny
Violon et Piano
Instrumental Duet Instrumental Duet,Piano,Violin - Level 5 - Digital Download SKU: A0.1…
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Instrumental Duet Instrumental Duet,Piano,Violin - Level 5 - Digital Download SKU: A0.1030742 Composed by Jesus J. Martinez. Contemporary. Score and parts. 1 pages. Jesus Martinez Music #2019881. Published by Jesus Martinez Music (A0.1030742). PROGRAM NOTES: The Spear of Destiny is titled and inspired by the supposed spear that was used to kill Jesus Christ. The spear is said to have extraordinary powers. He who possesses it will rule the world and he who loses it thereafter will die an untimely death. The last person recorded to have had it was Adolf Hitler. This musical composition journeys through the time of Hitler and his obsession to obtain the spear, his atrocious acts during his tenure of the spear, and the loss of the spear. The spears main thematic motions are the glissandos in the violin that represent the spears anger and tortuous ways. I. Spear Found takes place during his times as an understudy of Dietrich Eckart, a dedicated satanist and figure in the Occult Thule Society and founding member of the Nazi party. Dietrich said: Follow Hitler! He will dance, but it is I who have called the tune! I have initiated him into the Secret Doctrine' opened his centres in vision and given him the means to communicate with the Powers. Do not morn for me; I shall have influenced history more than any other German. Hitler became enamored with the Spear of Destiny, which claimed it called to him. Spear Found, is Hitler's journey to capturing the spear to rule the world. II. Spear Possessed begins with no time meter or key signature. It is ad liberty of the performers and is a musical representation of the spears possessive powers towards evil. This movement takes place during the time of the Holocaust and the actions committed during Hitler's reign of world domination. The movement infers a jewish folk song titled, Dayeinu, a jewish Passover song meaning it would have been enough. This song is set in context of freedom. The movement goes through variations of Dayeinu and the spears version of a possessed Dayeinu. The violin has fast and rapid rhythms with small thematic material of the folk tune. At the end of the movement, the piano strikes the low end of the piano with a soft yarn mallet to symbolize the bombs dropping and the start of World War II. III. Spear Lost takes place during WWII and the Marines efforts to take down Hitler's reign. During the 3rd movement, the Marine Corps music comes to life as they take control of the spear and ultimately end the war. The Spear however, takes its last stand as the spears motif soars over the possessed marine tune. At the end of the movement, the spear is once again screeching as it survives and goes missing once again.
$32.99
30.16 €
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Violon et Piano
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Jesus J
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The Spear of Destiny
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Jesus Martinez Music
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SheetMusicPlus
Obelisk: A Tribute to Ukraine
B-Flat Clarinet,Cello,Flute,Percussion,Piano,Violin - Level 5 - Digital Download SKU: A…
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B-Flat Clarinet,Cello,Flute,Percussion,Piano,Violin - Level 5 - Digital Download SKU: A0.1283414 Composed by Eugene Astapov. 21st Century,Chamber,Contemporary. 49 pages. EAMUSIC #874599. Published by EAMUSIC (A0.1283414). Obelisk is a work that was built as a response to the atrocious events happening in the war between Russia and Ukraine. As a composer who was born in Ukraine, I felt very deeply for the hardships of the people of my country and this work is a direct emotional response to the images I see and stories I hear. The central part of the work features pre-recorded interviews with some of the Ukrainian civilians telling their harrowing stories of loss, struggles, and fight for survival.  When I was a child, my parents made the difficult decision to leave the country due to the beginning of another war Russia’s Putin started in Chechnya and my parents knew - one day he would be coming for Ukraine. As someone who immigrated to Canada at a young age, I experienced all the difficulties associated with finding new life in a new country. I saw the struggles of my parents and now I see the struggles being experienced by people fleeing Ukraine.  Throughout the work you will hear the sonic accompaniment to the pain and suffering that Ukrainians undergo on daily basis, you will hear their voices and see images of the brutality committed against the people of Ukraine. This is a heavy work to experience, but as an artist I feel it is only appropriate to raise awareness around the issue and show the people the horrors going on in the world.    The title of the work was inspired by the famous monument erected in 2001 to mark the occasion of the 10thanniversary of Ukraine’s Independence from the Soviet Union. At that point it appropriately replaced the monument of Vladimir Lenin. Towering on top of Kyiv’s Independence Square (famously known as Maidan) at 200 feet, this obelisk celebrates the nature of the Ukrainian independent spirit and directly reflects my ideas through this musical composition with the hope that the powerful Ukrainian nation will prevail over its enemy once again.  This PDF includes Score and Parts.
$50.00
45.71 €
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Eugene Astapov
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Obelisk: A Tribute to Ukraine
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EAMUSIC
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SheetMusicPlus
Due a due
Percussion (one player: vibraphone, marimba, cymbals, tom-tom, etc.). Advanced soprano sax…
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Percussion (one player: vibraphone, marimba, cymbals, tom-tom, etc.). Advanced soprano saxophone and percussion - difficult - Digital Download SKU: S9.Q54669 Composed by Bertold Hummel. This edition: performance score. Cymbal sound - multiphonic. Downloadable, Performance score. Volume op. 88a. Duration 8 minutes. Advance Music GmbH - Digital #Q54669. Published by Advance Music GmbH - Digital (S9.Q54669). The overall form of this work in one movement is in seven sections. A slow introduction begins with multiphonics of the saxophone and sounds of cymbals played with a double-bass bow. Vibraphone and marimbaphone provide the chordal foundation for a fanfare-like invocation by the saxophone. The atmosphere of the following Allegro is dominated by an ostinato series of notes taken from the chords of the introduction and played by the marimbaphone; over this, starting from a four-note series, the saxophone develops jazz-influenced figures. The constructional elements are worked into a cadenza-like section, followed by an arioso passage, leading over lightly-pulsating sounds to a final climax with a B-A-C-H (B flat - A - C - B) quotation in the saxophone. Once again, it continues with a cadenza-like section. Slap in the saxophone and stopped notes in the vibraphone and marimbaphone introduce new ideas and sonorities for discussion, the constructional elements are played off against each other in a loose sequence. At the end of this second cadenza, the B-A-C-H (B flat - A - C - B) quotation re-appears in the saxophone. A varied reprise of the first Allegro section leads to a concluding passage, taking up the atmosphere of the introduction, combined however with clear references to the four-note series of the Allegro. The interval of a third is heard and remains hovering in the air to the very end, closing the work in pianissimo.
$16.99
15.53 €
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Bertold Hummel
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Due a due
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Advance Music GmbH - Digital
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SheetMusicPlus
Illumine le tenebre
Chorale SATB
Choral Choir,Choral (SATB divisi) - Level 5 - Digital Download SKU: A0.900166 By Sa…
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Choral Choir,Choral (SATB divisi) - Level 5 - Digital Download SKU: A0.900166 By Sarah Labrie, Conductor - Chamber Choral Conducting Workshop, Sarteano, Italy. By Mary Ellen Haupert. Easter,Sacred,Spiritual. 5 pages. Mary Ellen Haupert #3031789. Published by Mary Ellen Haupert (A0.900166). ILLUMINE LE TENEBRE (SSAATTBB) For Jean Saladino and the Viterbo University Concert Choir TRANSLATION of TEXT: Most High, glorious God, enlighten the darkness of my heart and give me true faith, certain hope and perfect charity, sense and knowledge, Lord, that I may carry out your holy and true command. Amen. - St. Francis of Assisi's Prayer before the Crucifix NOTES from the composer: One year ago, I had the privilege of participating in the Leadership Pilgrimage to Assisi and Rome (2011) sponsored by the Franciscan Sisters of Perpetual Adoration, Franciscan Healthcare, and Viterbo University. I carried with me, not only the responsibility of bringing back a hint of Francis’ lived experience to my students, but the desire to compose something wholly Franciscan. The San Damiano Cross is one of the most distinctive Franciscan images we have on campus. The gentle Jesus that hangs on this 12th-century icon will forever be linked to Francis’ dramatic step from citizen to sainthood-welcoming his earnest prayer to enlighten the darkness of his heart. The Basilica of Santa Chiara in Assisi holds both the San Damiano Cross and the remains of his confidante, St. Clare. It seemed a good place to start getting serious. Copying the prayer in at least six different languages, I tucked it away in my travel books, not digging it out again until the following summer (2012). The opening phrases in the piece came easily enough (Altissimo, glorioso Dio), but I stumbled through a handful of ideas before coming up with the mantra (illumine le tenebre…). It made sense that Francis would joyfully address God singing forte (Altissimo and Signore), while quietly chanting his humble prayers for faith, hope, charity, and knowledge. The friendship between Francis and Clare can’t be missed, not only in the intermingling of SATB voices, but in the setting of che faccia lo tuo santo e verace comadamento (that I may carry out your holy and true command). The phrase is sung only once by the women before the final return of the illumine chant (which is repeated throughout by the men). Maybe I chanced on weaving some of Clare’s courage with Francis’ persistence into Illumina le tenebre, all while trying to compose something wholly Franciscan?  ---Mary Ellen Haupert, October 2012. Â
$3.99
3.65 €
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Chorale SATB
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Sarah Labrie, Conductor - Chamber Choral Conducting Workshop, Sarteano, Italy
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Illumine le tenebre
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Mary Ellen Haupert
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SheetMusicPlus
Flat as a Flute - Flute solo w piano accompaniment
Flûte traversière et Piano
Flute,Piano - Level 5 - Digital Download SKU: A0.767321 Composed by Mike Lyons. Con…
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Flute,Piano - Level 5 - Digital Download SKU: A0.767321 Composed by Mike Lyons. Concert,Contemporary. Score and part. 23 pages. Lyons Music Services #3473849. Published by Lyons Music Services (A0.767321). A brand new solo for flute and piano. There's a little bit of horseplay between the flute and piano, the flautist needs to be able to double tongue and to use flutter tongue. There's a bit of a simple cadenza to start, followed by some interplay between the flute and piano pretending to tune. Then follows a march-like section with some deliberate discords in the flute. As this section becomes louder and more animated, the players should act cross with each other!Then follows a dreamy little melodic section in waltz time. There's lots of chromatic work in this section. The piano now dominates for a short while with a melodic idea, based on the flute's waltz melody bot with tremolos which gives the music an almost zither-like feel (expect the Third man to walk on stage. After this, the flute returns to dominance but gets interrupted by the piano who is missing being in the limelight!At the change to a quicker tempo and a major key - still with 'out of tune notes' the two 'play nicely together' for a while before it all goes to pot again when the flute develops hiccups! This leads back to an altered version of the original march tune, but faster.This time the two find common ground on the 8ve leaps and the piece finishes with a short codetta. A great show-off piece for the finale of a concert, allowing both the soloist and accompanist to sparkle.
$5.99
5.48 €
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Flûte traversière et Piano
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Mike Lyons
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Flat as a Flute - Flute solo w piano accompaniment
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Lyons Music Services
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SheetMusicPlus
Crow Wing Fantasy
Guitare
Solo Guitar - Level 5 - Digital Download SKU: A0.1199165 Composed by Doug Smith. 20…
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Solo Guitar - Level 5 - Digital Download SKU: A0.1199165 Composed by Doug Smith. 20th Century,Classical,Contemporary,Jazz. Individual part. 8 pages. Doug Smith Guitar Studio #798233. Published by Doug Smith Guitar Studio (A0.1199165). Crow Wing Fantasie was composed on a canoe ride coursing down the Crow Wing river in northern Minnesota. We encounter the waves, turn many bends, hit a few rapids and over time somewhat gently meander into camp. Then sitting by the campfire we reflect on the days events and memories past over a glimmering campfire. Getting up in the morning we start out again searching for adventure.
$3.99
3.65 €
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Guitare
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Doug Smith
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Crow Wing Fantasy
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Doug Smith Guitar Studio
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SheetMusicPlus
Brass Band - Variations on "O Hear The Lord"
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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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 - Digital Download SKU: A0.767213 Composed by Mike Lyons. Contemporary. Brass Band. 85 pages. Lyons Music Services #3077015. Published by Lyons Music Services (A0.767213). This is a set of variations for British brass band on an original hymn tune. The hymn tune itself is stated at the start and again at the end. Each variation is distinct and in a different musical style or genre, covering a wide range of musical styles from jazz to classical.Parts are supplied for full British brass band with extra parts for the percussion to allow easier positioning of the instruments as there is a lot of percussion, including a Xylophon/Marimba solo.This would make a great piece for an entertainments contest.
$50.00
45.71 €
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Mike Lyons
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Brass Band - Variations on "O Hear The Lord"
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Lyons Music Services
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SheetMusicPlus
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95
23.72 €
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Orchestre de chambre
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Carson Cooman
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Carson Cooman: Symphony No. 3, “Ave Maris Stella”
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, full set of parts on
Small Ensemble - Level 5 - Digital Download SKU: A0.533673 Composed by Carson Cooma…
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Small Ensemble - Level 5 - Digital Download SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #3037307. Published by Musik Fabrik Music Publishing (A0.533673). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the complete set of parts. The full score and the individual parts are avaialbe as seperate items.
$64.95
59.38 €
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Carson Cooman
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Carson Cooman: Symphony No. 3, “Ave Maris Stella”
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Musik Fabrik Music Publishing
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SheetMusicPlus
Jesus Shall Reign Where'er the Sun
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arr…
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Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99
4.56 €
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Piano seul
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John Hatton
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Paul Thurmond
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Jesus Shall Reign Where'er the Sun
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Paul Thurmond
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17 (parts)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
191.99 €
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
191.99 €
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Running Through My Mind I. Wondering II. Serene III. Groovin'
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.8…
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.894376 Composed by Zack Richards. 20th Century,Concert,Contemporary. Score and parts. 56 pages. Zack Richards #2115149. Published by Zack Richards (A0.894376). This String Quartet was written during my Graduate work in Composition. The idea of the piece was derived while I laid in my bed simply thinking about nothing specific one night. The opening melodic and rhythmic ideas just jumped into my mind. After writing them down, the first movement flowed naturally out and I finished it within a few hours late that night. I wrote the third movement in a similar state of mind. I began to think about how my mind general worked when trying to create music. As I was wondering the music just started to appear in my mind. Then my mind started groovin' as the music came flowing out. The second movement came much later. I had much more difficulty trying to come up with ideas for that one. In order to write it, I had to put myself into a serene state of mind with no distractions whatsoever. Again the music flowed from my mind and in one night I finished the second movement. To this day, I find that these three states of mind are where I am best able to create music.
$22.99
21.02 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Zack Richards
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Running Through My Mind I. Wondering II. Serene III. Groovin'
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Zack Richards
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SheetMusicPlus
Anything You Can Do . . . for violin and vibraphone
Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU:…
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Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 54 pages. Robert M. Greenberg #90285. Published by Robert M. Greenberg (A0.987848). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 12 minutes Year of composition: 2006 Program Note: The mind searches for the oddest of couples. Felix Unger and Oscar Madison. Julia Roberts and Lyle Lovett. The violin and the vibraphone. Aside from the letter V, the two instruments have almost nothing in common. We consider: the violin is the most aristocratic instrument in the Western musical tradition, the prima donna of the instrumental world, an instrument that has had, lavished upon it, more extraordinary music than any other since its invention roughly 475 years ago. And then there’s the vibraphone, a percussion instrument with pitched metal bars and motor-driven resonators that produce a vibrato. Invented around 1925, it’s an instrument created for dance bands and popular music. Anything You Can Do . . . is a confrontation between these two musical opposites. A sense of contest characterizes the entire piece, as the vibraphone seeks to establish its bona fides side by side with the violin, which in turn attempts to keep the vibraphone in its place by beating it at its own game. The first movement is conceived as a race, in which each instrument acts like the other – the violin explosively and percussively, and the vibraphone with lengthy bowed passages – while seeking to shake off the other. The movement concludes with the violin paying a series of huge, chords and a long, sustained triple-stop that, much to its fury, the vibraphone manages to match with a sustained double-stop of its own. The movement ends in a draw. The second movement begins with the violin doing its best to match the vibrato patterns of the vibraphone’s variable motor. Ultimately, the violin breaks free and plays a broad, arioso-styled melody. The vibraphone tries to match it, but cannot; try as it might, its fixed range cannot reach the stratospheric heights of the violin. Advantage violin. The third movement is constructed in three sections. In the outer sections, rapidly rising and falling lines and counter rhythms pervade as each instrument seeks to gain an advantage over the other. In the middle section, alternating, hocket-like phrases give way to bent notes and glissandi in the vibraphone, which infuriates the violin (how dare this upstart percussion instrument do something ordinarily associated with me?). The movement concludes with the violin once again attempting to lord its greater range over the vibraphone by playing a long sustained F# - the same pitch that conquered the vibraphone at the end of the second movement – only to have the vibraphone top it by playing a harmonic a full seven notes above the F#. Game, set, match: vibraphone. Some respect, please, for the new kid on the block. Anything You Can Do . . . is dedicated, with a thousand-and-one thanks, to Victor Romasevich and Jack van Geem.
$28.00
25.6 €
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Robert M
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Anything You Can Do . . . for violin and vibraphone
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Robert M. Greenberg
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SheetMusicPlus
Spring Breeze is Dancing
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1144555 By Takeru Hirabayashi. By T…
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Piano Solo - Level 5 - Digital Download SKU: A0.1144555 By Takeru Hirabayashi. By Takeru Hirabayashi. Classical,Holiday. Score. 6 pages. TAKeru Hirabayashi #744889. Published by TAKeru Hirabayashi (A0.1144555). The refreshing 4-beat spring breeze blows while occasionally humming some waltz. In the intermediate part, you can hear a slow hymn-like melody, and the wind seems to calm down. However, from bar 42, it restarts singing in a new form, gradually increasing the tempo, and the first melody will be sung again.
$8.00
7.31 €
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Piano seul
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Takeru Hirabayashi
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Spring Breeze is Dancing
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TAKeru Hirabayashi
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SheetMusicPlus
Grace Kelly
Chorale SSAA
Choral Choir (SSAA) - Level 5 - Digital Download SKU: A0.856207 By Mika. By Dan War…
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Choral Choir (SSAA) - Level 5 - Digital Download SKU: A0.856207 By Mika. By Dan Warner, Jodi Marr, John Merchant, and Mika. Arranged by Liz Garnett. Dance,Pop. Octavo. 6 pages. Liz Garnett #4312139. Published by Liz Garnett (A0.856207). Mika's hit from 2007 is an exuberant (and at times petulant) critique of the way the music industry seeks out individuality and talent, then insists on working it over into safely commercial products. (Of course, that he had such success with it suggests that things aren't quite as bad as the song makes out.) But the song also works as a more general statement about everyone's personal stand against the tyranny of our peers' expectations.The original has a very rangy melody, which carries a considerable variety of vocal characterisation. The arrangement unfolds this onto the four different parts, each taking on certain aspects of the line's mercurial identity. Sharing the melody's vocal demands around does not necessarily make either the characterisation or the ranges easier, however, since it also means that every part is switching between lead and accompanying roles, at times quite quickly. So it needs generous ranges, quick-wittedness and - above all - performative swagger to carry it off.There is space for the snippets of dialogue from the original track; but whether (and how much) to use it would depend on the performance situation. My own feeling would be that the middle one ('getting angry won't solve anything') works just fine slotted in between the verses, but that the snippets at start and end would need more setting up to make sense to an audience unfamiliar with Mika's recording.N.B. This arrangement is notated in treble and bass alta (i.e. sung an octave higher than written) clefs.Vocal Ranges:Tenor: E flat 4 - F5Lead: F3 - F5Bari: G3 - C5Bass: E flat 3 - B flat 4NB - the list price includes 4 copies of the music
$12.99
11.88 €
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Chorale SSAA
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Mika
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Liz Garnett
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Grace Kelly
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Liz Garnett
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SheetMusicPlus
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