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12 PENTATONICS
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12 PENTATONICS & BLUES SCALE FOR SAXOPHONES
Saxophone
Composed by Walter Cragnolin. Instructional, Jazz. Individual part. 14 pages. Walter…
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Composed by Walter Cragnolin. Instructional, Jazz. Individual part. 14 pages. Walter Cragnolin #6134853. Published by Walter Cragnolin
$9.99
9.14 €
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Saxophone
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Walter Cragnolin
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12 PENTATONICS & BLUES SCALE FOR SAXOPHONES
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Walter Cragnolin
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SheetMusicPlus
Dvorak: String Quartet No.12 in F Op.96 "American" Mvt.IV Finale - symphonic wind dectet/bass
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download
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Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1124411 Composed by Antonin Dvorak. Arranged by Ray Thompson. Romantic Period. Score and parts. 55 pages. RayThompsonMusic #725159. Published by RayThompsonMusic (A0.1124411). Arranged double wind quintet/bass The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by AntonÃn Dvořák. It was written in 1893, during Dvořák's time in the United States. The quartet is one of the most popular in the chamber music repertoire. For the London premiere of his New World symphony, Dvořák wrote: As to my opinion I think that the influence of this country (it means the folk songs)) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in colour as in character,. A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America Specific American influences have been doubted: In fact the only American thing about the work is that it was written there, writes Paul Griffiths. The specific American qualities of the so-called American Quartet are not easily identifiable, writes Lucy Miller, ...Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour. This is my arrangement of the 4th movement: Finale (Vivace ma non troppo) It is in a traditional rondo form, A–B–A–C–A–B–A. The main melody is pentatonic. The B section is more lyrical, but continues in the spirit of the first theme. The C section is a chorale theme. I have adapted the string music for winds, and included some sustained horn chords. It has a similar feel to the finale of Dvorak’s wind serenade in D minor op.44.
$14.95
13.68 €
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Antonin Dvorak
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Ray Thompson
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Dvorak: String Quartet No.12 in F Op.96 "American" Mvt.IV Finale - symphonic wind dectet/bass
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RayThompsonMusic
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SheetMusicPlus
Dvorak: String Quartet No.12 in F Op.96 “American" Mvt.III Molto vivace - symphonic wind dectet/bass
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download
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Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1128641 Composed by Antonin Dvorak. Arranged by Ray Thompson. Romantic Period. Score and parts. 30 pages. RayThompsonMusic #729243. Published by RayThompsonMusic (A0.1128641). Arranged wind dectet/bass (double wind quintet) Mvt III Molto vivace The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by AntonÃn Dvořák. It was written in 1893, during Dvořák's time in the United States of America. The quartet is one of the most popular in the chamber music repertoire. For the London premiere of his New World symphony, Dvořák wrote: As to my opinion I think that the influence of this country (it means the folk songs)) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in colour as in character,. A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America Specific American influences have been doubted: In fact the only American thing about the work is that it was written there, writes Paul Griffiths.[21] The specific American qualities of the so-called American Quartet are not easily identifiable, writes Lucy Miller, ...Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour.
$14.95
13.68 €
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Antonin Dvorak
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Ray Thompson
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Dvorak: String Quartet No.12 in F Op.96 “American" Mvt.III Molto vivace - symphonic wind dectet/bass
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RayThompsonMusic
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SheetMusicPlus
Dvorak: String Quartet No.12 in F Op.96 " American" (Complete) - wind dectet/bass
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.11433…
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1143368 Composed by Antonin Dvorak. Arranged by Ray Thompson. Chamber,Folk,Romantic Period. 132 pages. RayThompsonMusic #743725. Published by RayThompsonMusic (A0.1143368). Arranged wind dectet/bass (Double wind quintet) Mp3 is of 1st mvt. The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by AntonÃn Dvořák. It was written in 1893, during Dvořák's time in the United States. The quartet is one of the most popular in the chamber music repertoire. For the London premiere of his New World symphony, Dvořák wrote: As to my opinion I think that the influence of this country (it means the folk songs)) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in colour as in character,. A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America Specific American influences have been doubted: In fact the only American thing about the work is that it was written there, writes Paul Griffiths. The specific American qualities of the so-called American Quartet are not easily identifiable, writes Lucy Miller, ...Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour. This arrangement is of the complete workL you can alos buy each mvt separately.
$29.95
27.4 €
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Antonin Dvorak
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Ray Thompson
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Dvorak: String Quartet No.12 in F Op.96 " American"
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RayThompsonMusic
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SheetMusicPlus
Dvorak: String Quartet No.12 in F Op.96 " American" Mvt.II Lento - symphonic wind dectet/bass
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download
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Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1143137 Composed by Antonin Dvorak. Arranged by Ray Thompson. Romantic Period. Score and parts. 23 pages. RayThompsonMusic #743323. Published by RayThompsonMusic (A0.1143137). Arranged wind dectet/bass 2nd mvt Lento - The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by AntonÃn Dvořák. It was written in 1893, during Dvořák's time in the United States of America. The quartet is one of the most popular in the chamber music repertoire. For the London premiere of his New World symphony, Dvořák wrote: As to my opinion I think that the influence of this country (it means the folk songs)) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in colour as in character,. A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America Specific American influences have been doubted: In fact the only American thing about the work is that it was written there, writes Paul Griffiths. The specific American qualities of the so-called American Quartet are not easily identifiable, writes Lucy Miller, ...Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour. I have NOT simply copied the string parts across to the winds, as other have done. Rather, I have arranged the piece as though it had been written for wind ensemblet, so have given the horns repeated notes , in the same way as the slow movement of the slow movement Dvorak's wind serenade., and also used the horns to sustain. Some of the arpeggio figures remain, but in a simplified form.and are shared between clarinets and bassoons.
$9.95
9.1 €
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Antonin Dvorak
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Ray Thompson
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Dvorak: String Quartet No.12 in F Op.96 " American" Mvt.II Lento - symphonic wind dectet/bass
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RayThompsonMusic
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SheetMusicPlus
Dvorak: String Quartet No.12 in F Op.96 "American" Mvt.I Allegro -symphonic wind dectet/bass
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download
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Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1130508 Composed by Antonin Dvorak. Arranged by Ray Thompson. Folk,Romantic Period. Score and parts. 38 pages. RayThompsonMusic #730825. Published by RayThompsonMusic (A0.1130508). Arranged double wind quintet/bass The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by AntonÃn Dvořák. It was written in 1893, during Dvořák's time in the United States. The quartet is one of the most popular in the chamber music repertoire. For the London premiere of his New World symphony, Dvořák wrote: As to my opinion I think that the influence of this country (it means the folk songs)) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in colour as in character,. A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America Specific American influences have been doubted: In fact the only American thing about the work is that it was written there, writes Paul Griffiths. The specific American qualities of the so-called American Quartet are not easily identifiable, writes Lucy Miller, ...Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour. This is my arrangement of the 1st movement: Allegro Check out my SMP page : https://www.sheetmusicplus.com/publishers/raythompsonmusic-sheet-music/3002229.
$14.95
13.68 €
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Antonin Dvorak
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Ray Thompson
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Dvorak: String Quartet No.12 in F Op.96 "American" Mvt.I Allegro -symphonic wind dectet/bass
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RayThompsonMusic
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SheetMusicPlus
Dvorak: String Quartet No.12 in F Op.96 "American" Mvt.III Molto vivace - wind quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1139860 Composed by Antonin Dvorak. Arranged by Ray Thompson. Folk,Romantic Period. 19 pages. RayThompsonMusic #740132. Published by RayThompsonMusic (A0.1139860). Arranged wind quintet Mvt III Molto vivace The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by AntonÃn Dvořák. It was written in 1893, during Dvořák's time in the United States of America. The quartet is one of the most popular in the chamber music repertoire. For the London premiere of his New World symphony, Dvořák wrote: As to my opinion I think that the influence of this country (it means the folk songs)) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in colour as in character,. A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America Specific American influences have been doubted: In fact the only American thing about the work is that it was written there, writes Paul Griffiths.[21] The specific American qualities of the so-called American Quartet are not easily identifiable, writes Lucy Miller, ...Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour.
$9.95
9.1 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Antonin Dvorak
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Ray Thompson
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Dvorak: String Quartet No.12 in F Op.96 "American" Mvt.III Molto vivace - wind quintet
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RayThompsonMusic
#
SheetMusicPlus
Dvorak: String Quartet No.12 in F Op.96 “American" Mvt.II Lento - wind quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1127691 Composed by Antonin Dvorak. Arranged by Ray Thompson. Romantic Period,Spiritual. 16 pages. RayThompsonMusic #728293. Published by RayThompsonMusic (A0.1127691). 2nd mvt Lento - Arranged wind quintet The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by AntonÃn Dvořák. It was written in 1893, during Dvořák's time in the United States of America. The quartet is one of the most popular in the chamber music repertoire. For the London premiere of his New World symphony, Dvořák wrote: As to my opinion I think that the influence of this country (it means the folk songs)) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in colour as in character,. A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America Specific American influences have been doubted: In fact the only American thing about the work is that it was written there, writes Paul Griffiths.[21] The specific American qualities of the so-called American Quartet are not easily identifiable, writes Lucy Miller, ...Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour. I have NOT simply copied the string parts across to the winds, as other have done. Rather, I have arranged the piece as though it had been written for wind quintet, so have given the horn repeated notes , in the same way as the slow movement of the slow movement Dvorak's wind serenade., and used the horn to sustain. Some of the arpeggio figures remain, but in a simplified form.and are shared between clarinet and bassoon.
$14.95
13.68 €
#
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Antonin Dvorak
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Ray Thompson
#
Dvorak: String Quartet No.12 in F Op.96 “American" Mvt.II Lento - wind quintet
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RayThompsonMusic
#
SheetMusicPlus
Quartet No. 12, American
Quatuor de Clarinettes: 4 clarinettes
Clarinet quartet - Digital Download SKU: IZ.IMF1712 Composed by Antonin Dvorak. Arr…
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Clarinet quartet - Digital Download SKU: IZ.IMF1712 Composed by Antonin Dvorak. Arranged by Rebecca Mindock. Score and Parts. 32 pages. Imagine Music - Digital #IMF1712. Published by Imagine Music - Digital (IZ.IMF1712). 9 x 12 in inches.Nineteenth-Century Czech composer Antonin Dvorak (1841-1904) spent the years 1892-1895 as the director of the National Conservatory in New York City. It was during these years that Dvorak composed his Symphony No. 9, From the New World, and the composition of his American Quartet (String Quartet No. 12) followed not long after. The quartet includes many of the same hallmarks of the symphony, particularly the liberal use of the pentatonic scale and evocation of folk songs and spirituals. This transcription includes a few judicious cuts that make it a good option for student or amateur clarinet ensembles looking for a challenging but rewarding chamber work.
$24.00
21.96 €
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Quatuor de Clarinettes: 4 clarinettes
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Antonin Dvorak
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Rebecca Mindock
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Quartet No. 12, American
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Imagine Music - Digital
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SheetMusicPlus
Basic 12 Bar Blues with added Boogie Woogie Riff for Mountain Dulcimer
Dulcimer
Dulcimer,Instrumental Solo - Level 2 - Digital Download SKU: A0.1457985 By Jaymie M…
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Dulcimer,Instrumental Solo - Level 2 - Digital Download SKU: A0.1457985 By Jaymie Maham. By Jaymie Maham. Arranged by Jaymie Maham. Blues,Contemporary,Rock. Individual part. 2 pages. Jaymie Maham #1036967. Published by Jaymie Maham (A0.1457985). What happens when you take the basic 12 bar blues in the key of D and mix in a doo wop riff? You get a fusion that results in a funky boogie woogie vamp! For mountain dulcimer in standard DAd (1-5-8) tuning, no extra frets are required, but a couple of extra bends in the right spots help with getting that bluesy attitude. Suggested skill level is Advanced Beginner and above. This can be practiced at any speed and the use of barr chords keeps the fingering pretty simple. This isn't intended as a complete song, but rather is a study on the blues chord progression and an exercise in strumming and timing. Get the basic pattern down and you can add a startling amount of improvisation and your own idea of what the blues should be using just basic pentatonic in the box notes/shapes.
$1.99
1.82 €
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Dulcimer
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Jaymie Maham
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Jaymie Maham
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Basic 12 Bar Blues with added Boogie Woogie Riff for Mountain Dulcimer
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Jaymie Maham
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SheetMusicPlus
Guitar Minor Pentatonic Scales (notation)
Guitare
Solo Guitar - Level 1 - Digital Download SKU: A0.901481 Composed by Hayden Woods. I…
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Solo Guitar - Level 1 - Digital Download SKU: A0.901481 Composed by Hayden Woods. Instructional. Individual part. 2 pages. Hayden Lee Woods #5713079. Published by Hayden Lee Woods (A0.901481). A quick 12 major scale breakdown for the guitar, utilizing all six strings across two octaves. This version is the notation version, in 3/4 time to help stretch the octaves evenly. Visit my publisher page for the other versions.
$2.39
2.19 €
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Guitare
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Hayden Woods
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Guitar Minor Pentatonic Scales
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Hayden Lee Woods
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SheetMusicPlus
Pentatonic Primer-Guitar
Acoustic Guitar,Instrumental Solo - Level 1 - Interactive Download SKU: A0.690487 C…
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Acoustic Guitar,Instrumental Solo - Level 1 - Interactive Download SKU: A0.690487 Composed by Chris O'Mara. This edition: Interactive Download. Blues,Christmas,Contest,Country,Film/TV,Folk,Hip-Hop,Holiday,Latin,Pop,Praise & Worship,Rock,Standards. Individual part. 3 pages. Duration 12. Comaramusic #1Mith0YG7nOaRcMZBNzE2C. Published by comaramusic (A0.690487). Key: G major.Start here learning the pathways to endless melodic material :] Check out my other scores on noteflight.com, too. Need an original composition or arrangement? Contact me at comaramusic@gmail.com for online lessons on seven instruments, songwriting & music theory. Thank you!
$3.00
2.74 €
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Chris O'Mara
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Pentatonic Primer-Guitar
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comaramusic
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SheetMusicPlus
Guitar Minor Pentatonic Scales (notation & tabs)
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.901479 Composed by Hayden Woods. Instru…
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Guitar - Level 1 - Digital Download SKU: A0.901479 Composed by Hayden Woods. Instructional. Guitar Tab. 3 pages. Hayden Lee Woods #5713073. Published by Hayden Lee Woods (A0.901479). A quick 12 minor perntatonic scale breakdown for the guitar, utilizing all six strings across two octaves. This version is the combined version with notation and guitar tablature. Visit my publisher page for the other versions.
$2.39
2.19 €
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Guitare notes et tablatures
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Hayden Woods
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Guitar Minor Pentatonic Scales
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Hayden Lee Woods
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SheetMusicPlus
Aabid 12 for Harp, Flute, Bass
Double Bass,Flute,Harmonica - Level 3 - Interactive Download SKU: A0.1207213 By Cel…
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Double Bass,Flute,Harmonica - Level 3 - Interactive Download SKU: A0.1207213 By Celebrity Chamber Players. By Marshall Thomas. This edition: Interactive Download. Children,Classical,Film/TV. 6 pages. Duration 67. Father Ambrose Press #4Kg4YTZYlgNtN6orvlDzqS. Published by Father Ambrose Press (A0.1207213). Key: G major.A simple, easily heard pentatonic confection... composed for harp, flute and upright bass violin...
$18.00
16.47 €
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Celebrity Chamber Players
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Aabid 12 for Harp, Flute, Bass
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Father Ambrose Press
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SheetMusicPlus
Guitar Minor Pentatonic Scales (tabs)
Guitare notes et tablatures
Guitar Tab - Digital Download Composed by Hayden Woods. Method, Etudes and Exercises, …
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Guitar Tab - Digital Download Composed by Hayden Woods. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. Individual Part, Tablature. 2 pages. Published by Hayden Lee Woods
A quick 12 major scale breakdown for the guitar, utilizing all six strings across two octaves. This version is the tab version without other note lengths and other notation. Visit my publisher page for the other versions.
$2.39
2.19 €
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Guitare notes et tablatures
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Hayden Woods
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Guitar Minor Pentatonic Scales
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SheetMusicPlus
Pentatonic Fantasy No. 12 - piano solo
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.702190 Composed by Kevin G. Pace (A…
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Piano Solo - Level 5 - Digital Download SKU: A0.702190 Composed by Kevin G. Pace (ASCAP). 20th Century,Contemporary. Score. 4 pages. Kevin G. Pace #5792403. Published by Kevin G. Pace (A0.702190). An exciting, soaring piano solo for the moderately advanced pianist composed by Kevin G. Pace.
$3.95
3.61 €
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Piano seul
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Kevin G
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Pentatonic Fantasy No. 12 - piano solo
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Kevin G. Pace
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
21.95 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Thompson's Structured Guide: Scales, Modes and Associated Chords (C-TONIC ONLY VERSION)
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.814482 By Alan R. Thompson. By Alan…
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Piano Solo - Level 3 - Digital Download SKU: A0.814482 By Alan R. Thompson. By Alan R. Thompson. Arranged by Alan R. Thompson. Blues,Classical,Instructional,Jazz,Multicultural,World. Score. 16 pages. Alan R Thompson #421393. Published by Alan R Thompson (A0.814482). The C-TONIC ONLY version of Thompson's Structured Guide: Scales, Modes and Associated Chords - represents an invitation for you to explore part of the vast universe of melodic and harmonic musical options. This Structured Guide will provide a foundation for improvisation sessions, building blocks for the creation of original music, be helpful in developing technical proficiency in your instrument of choice, improve your sight-reading skills and help you better develop an ear for music. Though here only C-Tonic Scales, Modes and Associated Chords are listed, the complete version of this book (available separately at https://www.sheetmusicplus.com/title/thompson-s-structured-guide-scales-modes-and-associated-chords-complete-version-digital-sheet-music/22266897) lists in standard sheet music notation over 50 scales and over 50 chords in each of the 12 Tonic/Tonal Centers (C thru B) and in all Key Signatures in Western Music. Each Tonic/Tonal Center is 16 pages of sheet music. The Audio Preview covers the 16 pages of C-Tonic/Tonal Center (trumpet over piano used). Together with the exercises in the Appendices the entire book (sold separately) is 316 pages long. Summary of Scales & Modes Covered: Major, Natural Minor, Harmonic Minor, Melodic Minor, Melodic Minor Ascending/Natural Minor Descending, Whole-Tone, Octatonic Diminished & Octatonic Dominant Scales, numerous Bebop Scales with variations, numerous Pentatonic & Blues Scales with variations, Chromatic Scale, Lydian Diminished/Lydian b3 Scale, miscellaneous Pentatonic Major Modes & Japanese & Rock Pentatonic Style Scales, and the Augmented and Arabian Scales. There is a 50+ Chords Reference section (basic triads up to 13th chords). The entire book is in essence a series of practice exercises covering most every conceivable scale & associated chord combination used in the vast majority of music. Additionally, there are basic foundational exercises located in the Appendices A thru L. NOTE: Only SHEET MUSTIC is available here. However, a FREE PDF version of the Cover Page, Table of Contents, Introduction & Instructions is available for the entire book. Contact the author at alanrt63@gmail.com to request this if you desire.
$2.99
2.74 €
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Piano seul
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Alan R
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Alan R
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Thompson's Structured Guide: Scales, Modes and Associated Chords
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Alan R Thompson
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SheetMusicPlus
The Way We Meet
Chorale 3 parties
Choral Choir,Choral,SSA Chorus - Level 4 - Digital Download SKU: A0.1423515 Compose…
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Choral Choir,Choral,SSA Chorus - Level 4 - Digital Download SKU: A0.1423515 Composed by Adrienne Inglis (ASCAP). 21st Century,Classical,Multicultural,Spiritual,World. 12 pages. Adrienne Inglis (ASCAP) #1004756. Published by Adrienne Inglis (ASCAP) (A0.1423515). An English/Ojibwe poem that invites us to meet one another to be at peace in our heartsThe Way We Meet (2024)SSA (some divisi) and pianoCommissioned by Inversion Da Capo for Inversion at the LibraryText — “The Way We Meet” by Margaret Noodin from Weweni published by Wayne State University PressDuration — about 6:40Difficulty 4 (Auditioned chorus)Language — English with one Ojibwe word, pronunciation guide includedCommissioned by Inversion Da Capo for its Inversion at the Library concert in April 2024, The Way We Meet (2024) sets excerpts from the poem of the same name by Margaret Noodin from her book of bilingual Anishinaabemowin/English poetry, Weweni. The narrative spans the creation arc, from the beginning of time through the emergence of organisms and proliferation of species. The challenge we face is living together peacefully with all beings in order to leave behind a legacy of understanding and love. The piece opens with a bit of an uncomfortable pentatonic scale and haunting vocal solos, followed by G minor pentatonic with a tenacious rhythmic ostinato, closing with rich divisi harmonies and aleatoric texture.Soloists may shape the unmetered solos as they wish. Singers may spread the glissandi evenly over the duration of the note. In choral ad lib sections, you may stagger your entrances and shape the musical arc by varying note order, dynamics, duration of notes, number of singers, and frequency, not pointillistic but expressive. In piano ad lib sections, you may play the indicated notes in a pointillistic style, scrambling the order of pitches to create a celestial soundscape over the held chord. All ad lib sections may take about 10-15” but shorter or longer is fine.
$2.99
2.74 €
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Chorale 3 parties
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Adrienne Inglis
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The Way We Meet
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Adrienne Inglis
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SheetMusicPlus
Peace Like A River
Small Ensemble Cello,High Voice,Piano Accompaniment - Level 4 - Digital Download SKU: A…
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Small Ensemble Cello,High Voice,Piano Accompaniment - Level 4 - Digital Download SKU: A0.905706 Composed by African-American Spiritual. Arranged by Brandon Haynes. Concert,Sacred,Spiritual. Score and parts. 12 pages. Brandon Haynes #4602667. Published by Brandon Haynes (A0.905706). Peace Like A River, is an African-American spiritual arranged for high-voice, cello obbligato, and piano accompaniment. The accompaniment features a flowing 'river-like' accompaniment utilizing pentatonic scales prevalent in the spiritual style. The cello-line adds a beautiful counter-melody and also incorporates some of the flowing pentatonic patterns.
$5.50
5.03 €
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African-American Spiritual
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Brandon Haynes
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Peace Like A River
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Brandon Haynes
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SheetMusicPlus
Where the River Meets the Rain
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1091964 By Christopher Alexander. B…
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Piano Solo - Level 3 - Digital Download SKU: A0.1091964 By Christopher Alexander. By Christopher Alexander. Contemporary,New Age. Score. 12 pages. Christopher Alexander #696096. Published by Christopher Alexander (A0.1091964). This serene work illustrates the smooth movement of flowing water. Opening with a low rumble of the pentatonic scale, the melody is then introduced with a light and delicate touch before moving onward to playing above supportive arpeggiations. The song evolves with brimming voice filling and an expanded harmonic structure while maintaining the tranquil expression. The work concludes with a recapitulation of the opening pentatonic rumbles and a long fade into the distance, symbolizing the water flowing away to a new venture.
$2.50
2.29 €
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Piano seul
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Christopher Alexander
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Where the River Meets the Rain
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Christopher Alexander
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SheetMusicPlus
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