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4 Ostinati
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4 Ostinati
SheetMusicPlus
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CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
4 Ostinati
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2 Guitares (duo)
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AVANCÉ
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Contemporain
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Jaume Torrent
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4 Ostinati
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Schott Music - Digital
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SheetMusicPlus
Composed by Jaume Torrent. Downloadable, Performance score. Duration 19 minutes. Schott Music - Digital #Q15852. Published by Schott Music - Digital...
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Composed by Jaume Torrent. Downloadable, Performance score. Duration 19 minutes. Schott Music - Digital #Q15852. Published by Schott Music - Digital
$12.99
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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IGNITE, Between the Octaves -
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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THREAD, Between the Octaves A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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INITIATE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. P...
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Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Toppling Leaves
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Quatuor de Flûtes : 4 flûtes
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AVANCÉ
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Geoff Warren
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Toppling Leaves
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Forton Music - Digital
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SheetMusicPlus
Flute Quartet 3fl Afl - Advanced - SKU: F2.FM190 Composed by Geoff Warren. Score and parts. 24 pages. Forton Music - Digital #FM190. Published by Forton...
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Flute Quartet 3fl Afl - Advanced - SKU: F2.FM190 Composed by Geoff Warren. Score and parts. 24 pages. Forton Music - Digital #FM190. Published by Forton Music - Digital (F2.FM190). ISBN 9790570480890.Flute Quartet - 3 flutes and Alto Flute. This quartet is in a modern jazz style. A chorale-like introduction using modern harmonies leads into solo-like sections where flute 1 has a free line over ostinati in the lower three parts, interspersed with short interjections in rhythmic unison. There then follow sections where the top three parts build up to a climactic finish. Wandering through many keys (including Ab major), and using some complex rhythmic patterns, this is a treat for a more advanced quartet.
$12.95
The Abduction of Persephone (for String Orchestra)
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Orchestre à Cordes
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INTERMÉDIAIRE
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Aaron Fonzi
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The Abduction of Persephone
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Aaron Fonzi
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.998356 Composed by Aaron Fonzi. Children,Contemporary,Rock,Standards. Score and parts. 27 pages. Aaron Fonzi #33678...
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String Orchestra - Level 3 - SKU: A0.998356 Composed by Aaron Fonzi. Children,Contemporary,Rock,Standards. Score and parts. 27 pages. Aaron Fonzi #3367893. Published by Aaron Fonzi (A0.998356). This piece tells the epic story of Hades' abduction of his niece, Persephone. According to the legend, Hades came up through a crack in the ground and snatched the girl while she was playing. In the Underworld, he tried to seduce her in a variety of ways, but to no avail. Finally, Hades is said to have tricked her into staying by offering her a tempting pomegranate. As Persephone ate 6 seeds, she was to stay in the Underworld for six months each year. It is said that while Persphone is in the Underworld, the plants wither and die, and when she comes back to the surface she brings rebirth to growing things. This piece begins with playful pizzicato lines that build upon each other. These represent Persphone at play, but forebodes the dark forces that are encircling her. When the orchestra goes to arco, Persphone is being dragged into the Underworld. A mournful violin solo signifies her arrival, but this mournful theme is quickly replace by the devious seductions of Hades in the form of a humorous waltz. Finally, Hades offers the pomegranate to Persephone and she eats 6 seeds (represented by the six beats of the B major chord in measures 76 and 77). The main theme then takes over once again, modulating to F# minor to represent Hades' victory. With relentless energy, catchy ostinati and opportunities to work on shifting, pizzicato and arco throughout, this piece will not dissapoint for audiences and students alike. A FEW NOTES: 1. I'd recommend rehearsing the rhythms of recurring ostinati together- first pizzicato then arco. You may get creative and incorporate scales with these rhythms. However you do it, it'll be important that each ostinato is played with precision and confidence. 2. Have fun with the waltz section! It's meant to portray the strange, whimsical nature of Hades' attempts to woo Persephone, so the awkwardness in delivery is encouraged! 3. All ritardandos should be exaggerated for the sake of drama. 4. Encourage your drumset player to explore different ways of accompanying the orchestra- the drumset part is a blueprint, not definitive instructions. 5. Be sure to practice shifting into 2nd position for the modulation. I hope you and your students have a great time putting this epic piece together! I had a ton of fun writing it! ~Aaron Fonzi
$20.00
Eight Pieces for Piano
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Malcolm D Robertson
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Eight Pieces for Piano
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Mr Malcolm D Robertson
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.927997 Composed by Malcolm D Robertson. Concert,Contemporary. Score. 15 pages. Mr Malcolm D Robertson #6037989. Published...
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Piano Solo - Level 4 - SKU: A0.927997 Composed by Malcolm D Robertson. Concert,Contemporary. Score. 15 pages. Mr Malcolm D Robertson #6037989. Published by Mr Malcolm D Robertson (A0.927997). The Eight Pieces were composed between 1985 & 1991 during a period in which I was searching for a distinctive musical voice. The first two pieces were composed in 1985, the first reflective and the second short & rhythmic based around six notes. The third piece from 1988 is in the manner of my earlier Pastoral Prelude and simple to play. Pieces four to eight were all composed in the autumn of 1991. Piece four is a simple study in legato playing. Piece five is short and rather mischievious. Piece six is a delicate waltz in 5/4 time with 3/4 time interludes. Piece seven is a study in rhythm and ostinati. The final eighth piece is a short, simple hymn-like chorale. All eight pieces were revised and edited in July 2020 to form a set.
$8.00
Veritas (Truth)
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Cloches
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Kathleen Wissinger
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Veritas
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4, 5, or 6 octaves handbells - Level 4 - SKU: C7.CGB587 Composed by Kathleen Wissinger. Christmas. Master Ringer. With 3, 4, 5, or 6 octaves handchim...
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3, 4, 5, or 6 octaves handbells - Level 4 - SKU: C7.CGB587 Composed by Kathleen Wissinger. Christmas. Master Ringer. With 3, 4, 5, or 6 octaves handchimes. Score. 12 pages. Chorister's Guild - Digital #CGB587. Published by Chorister's Guild - Digital (C7.CGB587). UPC: 749193013946.A bold exploration of syncopation and ostinati, Veritas (Latin for truth) opens with marted chords and a unique pealing pattern, then settles into the driving rhythms of the main theme. Slow motion marting of all notes during rehearsals may be helpful in developing precision as an ensemble. A second, calmer theme introduces optional chimes. Appropriately, Veritas ends on a positive note, with uplifting peals and a grand C major chord. Appropriate for church, school, or community groups, this piece will be an inspiring choice for worship, concert, or festival settings.
$4.95
Lux in tenebris (Downloadable)
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Chorale SATB
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INTERMÉDIAIRE
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Zebulon M
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Lux in tenebris
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
SATB choir (choir divisi) unaccompanied - Medium - SKU: MQ.8705-E Composed by Zebulon M. Highben. Lent, Funeral, Tenebrae. Instrument part. 8 pages. Dur...
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SATB choir (choir divisi) unaccompanied - Medium - SKU: MQ.8705-E Composed by Zebulon M. Highben. Lent, Funeral, Tenebrae. Instrument part. 8 pages. Duration 4 minutes, 30 seconds. E. C. Schirmer Music Company - Digital #8705-E. Published by E. C. Schirmer Music Company - Digital (MQ.8705-E). Latin. John 1:5.The text of Lux in tenebris—a single verse from the prologue to the gospel of John—was chosen in conjunction with the commissioning party, who requested a sacred text with universal appeal that could address the hopes and fears that all people share. The composition elaborates on the text's juxtaposition between the darkness of despair and the light of hope. Dissonant, layered ostinati built on fragments of the text illustrate the omnipresent darkness (mm. 1-25). The second half of the piece (m. 29ff.) changes key and meter, employing the entire text to emphasize the persistent shining and eternal triumph of the light. Duration: 4:30Lux in tenebris was premiered in December 2016 by the Chamber Singers of First Community Church (Columbus, Ohio) at the church’s annual Candlelight Christmas concert, and reprised for the Holy Week Tenebrae service in April 2017.
$2.25
The Living Years
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Mike + The Mechanics
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Cat McGill
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The Living Years
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Cat McGill
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.887695 By Mike + The Mechanics. By BA Robertson, Michael Rutherford, and Mike Rutherford. Arranged by Cat McGill...
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Choral Choir (SATB) - Level 4 - SKU: A0.887695 By Mike + The Mechanics. By BA Robertson, Michael Rutherford, and Mike Rutherford. Arranged by Cat McGill. Contemporary. Octavo. 19 pages. Cat McGill #5288519. Published by Cat McGill (A0.887695). This classic ballad now rearranged for community choir. The verses are soft and light, with rhythmic ostinati suporting the melody, giving way to a full harmonious chorus.This is suitable for teaching by ear with an experienced group. Would work for TTBB.
$4.60
The River Of Dreams
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Billy Joel
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Jason Nicolo Ferrandino
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The River Of Dreams
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Jason Nicolo Ferrandino
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SheetMusicPlus
Choral Choir,Choral - Level 4 - SKU: A0.1363090 By Billy Joel. By Billy Joel. Arranged by Jason Nicolo Ferrandino. Contemporary,Contest,Festival,Pop,Roc...
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Choral Choir,Choral - Level 4 - SKU: A0.1363090 By Billy Joel. By Billy Joel. Arranged by Jason Nicolo Ferrandino. Contemporary,Contest,Festival,Pop,Rock. 21 pages. Jason Nicolo Ferrandino #947476. Published by Jason Nicolo Ferrandino (A0.1363090). Your choir will have lots of fun with this daring a capella arrangement of Billy Joel's iconic River of Dreams. Complete with vocal percussion and the original piano solo rearranged for voice, the harmonies and catchy rhythmic ostinati will keep your singers and audiences fully engaged. Arrangement is SSATBB a capella.
$1.99
AN ECHO OG GREEK FOLK MUSIC, for chamber ens. Version 2
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Marilena Zlatanou
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AN ECHO OG GREEK FOLK MUSIC, f
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Marilena Zlatanou
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SheetMusicPlus
Level 4 - SKU: A0.1319811 Composed by Marilena Zlatanou. 21st Century. 33 pages. Marilena Zlatanou #908368. Published by Marilena Zlatanou (A0.1319811)....
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Level 4 - SKU: A0.1319811 Composed by Marilena Zlatanou. 21st Century. 33 pages. Marilena Zlatanou #908368. Published by Marilena Zlatanou (A0.1319811). Version 2: For Flute, B Clarinet, violin, violoncello, piano and hand drumAs the title indicates, none of the musical material used in this composition is actual folk-music, but it is throughout its entirety inspired by it: The choice of Byzantine music modes, the irregular time signatures, the choice of instruments to be as closely related to those used in folk-music, the frequent use of ison (long-held note), heterophony, parallel thirds, simple ostinati and restrained harmony, as well as the permeating melancholic mood and the attempted intensity of expression, are all intended to be suggestive of Greek Folk-music.Version 1: For Flute, B Clarinet, viola, violoncello, harp and hand drum is also listed on SMP. For more information on the composer, please visit www.zlatanou.net (member of TONO, the Norwegian copyright org.)
$25.00
Posy's Predicament
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Kevin Riley
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Posy's Predicament
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Forton Music - Digital
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SheetMusicPlus
4 Bsn. - Intermediate-Advanced - SKU: F2.FM632 Composed by Kevin Riley. Bassoon Quartet. Score and parts. 18 pages. Forton Music - Digital #FM632. Publi...
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4 Bsn. - Intermediate-Advanced - SKU: F2.FM632 Composed by Kevin Riley. Bassoon Quartet. Score and parts. 18 pages. Forton Music - Digital #FM632. Published by Forton Music - Digital (F2.FM632). ISBN 9790570485314.Originally composed for the Allegro Wind Ensemble this became a favourite piece for the players. It is a very tongue in cheek piece. I decided to arrange it for the unique sound of a bassoon quartet as I felt that sound world they create really suited it. A series of ostinati create excitement at the start of the piece. In the second section, chromatic lines create tension and drama before the opening section returns. When I had originally composed it I was stuck for a name, inspiration came from a pupil I was teaching at the time. Posy was struggling with a section of music, hence Posy's Predicament.
$9.95
Sparkle: (wp) 4th Horn in E-flat
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Orchestre d'harmonie
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Methodes
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William Harbinson
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Sparkle:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0015145_WPEH4 (wp) 4th Horn in E-flat. Composed by William Harbinson. Instructional. World Part. 4 pages. Alfred Mus...
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Concert Band - SKU: AX.00-PC-0015145_WPEH4 (wp) 4th Horn in E-flat. Composed by William Harbinson. Instructional. World Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0015145_wpEH4. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015145_WPEH4). UPC: 038081407975.Sparkle glistens with the energy of new life. Built from staccato ostinati, relentless rhythms, biting harmonies, and soaring themes, the work shines with brilliance and power. From the first measure to the last, the work drives forward with fire and intensity to the powerful ending.Concert/Contest.
$3.00
Sparkle: (wp) 1st Horn in E-flat
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Orchestre d'harmonie
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Methodes
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William Harbinson
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Sparkle:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0015145_WPEH1 (wp) 1st Horn in E-flat. Composed by William Harbinson. Instructional. World Part. 4 pages. Alfred Mus...
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Concert Band - SKU: AX.00-PC-0015145_WPEH1 (wp) 1st Horn in E-flat. Composed by William Harbinson. Instructional. World Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0015145_wpEH1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015145_WPEH1). UPC: 038081407975.Sparkle glistens with the energy of new life. Built from staccato ostinati, relentless rhythms, biting harmonies, and soaring themes, the work shines with brilliance and power. From the first measure to the last, the work drives forward with fire and intensity to the powerful ending.Concert/Contest.
$3.00
Sparkle: (wp) 3rd Horn in E-flat
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Orchestre d'harmonie
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Methodes
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William Harbinson
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Sparkle:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0015145_WPEH3 (wp) 3rd Horn in E-flat. Composed by William Harbinson. Instructional. World Part. 4 pages. Alfred Mus...
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Concert Band - SKU: AX.00-PC-0015145_WPEH3 (wp) 3rd Horn in E-flat. Composed by William Harbinson. Instructional. World Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0015145_wpEH3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015145_WPEH3). UPC: 038081407975.Sparkle glistens with the energy of new life. Built from staccato ostinati, relentless rhythms, biting harmonies, and soaring themes, the work shines with brilliance and power. From the first measure to the last, the work drives forward with fire and intensity to the powerful ending.Concert/Contest.
$3.00
Sparkle: (wp) 2nd Horn in E-flat
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Orchestre d'harmonie
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Methodes
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William Harbinson
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Sparkle:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0015145_WPEH2 (wp) 2nd Horn in E-flat. Composed by William Harbinson. Instructional. World Part. 4 pages. Alfred Mus...
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Concert Band - SKU: AX.00-PC-0015145_WPEH2 (wp) 2nd Horn in E-flat. Composed by William Harbinson. Instructional. World Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0015145_wpEH2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015145_WPEH2). UPC: 038081407975.Sparkle glistens with the energy of new life. Built from staccato ostinati, relentless rhythms, biting harmonies, and soaring themes, the work shines with brilliance and power. From the first measure to the last, the work drives forward with fire and intensity to the powerful ending.Concert/Contest.
$3.00
Communion Meditations, Set 2
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Cloches
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FACILE
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Margaret R Tucker
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Communion Meditations, Set 2
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4, or 5 octaves handbells - Level 2 - SKU: C7.CGB580 A set of flexible-length pieces for communion or other times. Composed by Margaret R Tuck...
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3, 4, or 5 octaves handbells - Level 2 - SKU: C7.CGB580 A set of flexible-length pieces for communion or other times. Composed by Margaret R Tucker. General, Holy Communion. With 2 or 3 octaves handchimes, Windchimes, Unison. Score. 24 pages. Chorister's Guild - Digital #CGB580. Published by Chorister's Guild - Digital (C7.CGB580). UPC: 749193013854.A bold exploration of syncopation and ostinati, Veritas (Latin for truth) opens with marted chords and a unique pealing pattern, then settles into the driving rhythms of the main theme. Slow motion marting of all notes during rehearsals may be helpful in developing precision as an ensemble. A second, calmer theme introduces optional chimes. Appropriately, Veritas ends on a positive note, with uplifting peals and a grand C major chord. Appropriate for church, school, or community groups, this piece will be an inspiring choice for worship, concert, or festival settings.
$6.50
One last bar then Joe can sing
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Gavin Bryars
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One last bar then Joe can sing
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Schott Music - Digital
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SheetMusicPlus
Percussion-Quintett - SKU: S9.Q50078 A Homage to Deagan for percussion ensemble. Composed by Gavin Bryars. This edition: score and parts. Downloa...
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Percussion-Quintett - SKU: S9.Q50078 A Homage to Deagan for percussion ensemble. Composed by Gavin Bryars. This edition: score and parts. Downloadable, score and parts. Duration 20 minutes. Schott Music - Digital #Q50078. Published by Schott Music - Digital (S9.Q50078). One Last Bar Then Joe Can Sing (1994) was commissioned by the Arts Council of Great Britain for the percussion quintet Nexus, and is a reflection on aspects of percussion history, both personal and musical. The members of Nexus are my friends (I played in the Steve Reich Ensemble along with Russ Hartenberger in 1972, the year after Nexus was formed). The piece aimed to demonstrate how a fine percussion ensmeble can be as musically expressive and subtle as, say, a string quartet. The piece starts from the last bar at the end of the second act of my opera Medea, a very short coda for a quintet of untuned percussion instruments during which the curtain falls. In this piece, however, this one apparently innocuous measure is progressively fragmented until it is taken over, little by little, by the addition of tuned percussion instruments. Eventually two metallophones (crotales and songbells) play aria-like material with bows, occasionally joined by the xylophone, and accompanied by marimba and xylophone ostinati. The piece ends with a coda in which phrases are passed from bowed vibraphone to bowed crotales, then to bowed songbells, supported by tremolos on the marimbas. The rare 3-octave songbells that Nexus owns is one of the American instrument maker J. C. Deagan's particularly fine instruments. The piece is effectively a kind of homage to Deagan, the Stradivarius of the tuned percussion world, who collaborated closely with Percy Grainger in the development of tuned percussion music between the wars. The allusions in the title are obvious: the one last bar is the last measure of music from my opera; the song is that of Deagan's songbells. In the case of Joe I wanted to link my father, Joe Bryars (who was a good amateur baritone singer) with Joseph Deagan and his songbells. However, some time after I had written the piece, Nexus's Bob Becker took me to one side and told me (gently) that the initial J in Deagan's name, in fact, stood for JohnGavin BryarsPercussion 1: Crotales (with bow), Chocolo, Mark Tree; Percussion 2I: Song Bells (with bow), Chinese Cymbal, 3 Wood Blocks; Percussion 3: 2 Cymbals, 2 Triangles, Xylophone, Marimba (shared with Marimba II), Vibraphone (with bow); Percussion 4: 2 Cymbals, 2 Gongs, Marimba I (with low F), Maracas; Percussion 5: 2 low Tom-Toms, Marimba II (to low A).
$45.99
To Catch An Owl
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Piano seul
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INTERMÉDIAIRE
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Contemporain
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James Hannigan
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Drew Collier
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To Catch An Owl
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Drew Collier
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.879662 Composed by James Hannigan. Arranged by Drew Collier. Contemporary. Score. 4 pages. Drew Collier #4628363. Publish...
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Piano Solo - Level 3 - SKU: A0.879662 Composed by James Hannigan. Arranged by Drew Collier. Contemporary. Score. 4 pages. Drew Collier #4628363. Published by Drew Collier (A0.879662). This is a piano arrangement of To Catch an Owl from the Harry Potter and the Order of the Phoenix video game by James Hannigan. You can play the ostinati as written with the sixteenth notes or just with eighth notes.
$4.99
ECHOING GREEK FOLK MUSIC, for piano solo
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Marilena Zlatanou
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ECHOING GREEK FOLK MUSIC, for
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Marilena Zlatanou
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SheetMusicPlus
Instrumental Solo - Level 4 - SKU: A0.1319285 Composed by Marilena Zlatanou. 21st Century. Individual part. 8 pages. Marilena Zlatanou #907922. Publishe...
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Instrumental Solo - Level 4 - SKU: A0.1319285 Composed by Marilena Zlatanou. 21st Century. Individual part. 8 pages. Marilena Zlatanou #907922. Published by Marilena Zlatanou (A0.1319285). As the title indicates, none of the musical material used in this composition is actual folk-music, but it is throughout its entirety inspired by it: The choice of Byzantine music modes, the irregular time signatures, the dance rhythms (parts A,C and D), the frequent use of ison (long-held note), parallel thirds, simple ostinati and restrained harmony, as well as the permeating melancholic mood and the attempted intensity of expression, are all intended to be suggestive of Greek Folk-Music. Duration: ca 6'. For more information on the composer, please visit www.zlatanou.net (member of TONO, the Norwegian copyright org.).
$15.00
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4 Ostinati
