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A New Ground in E Minor - Purcell
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Vous avez sélectionné:
A New Ground in E Minor - Purcell
Partitions à imprimer
6 partitions trouvées
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Passacaglia in C (Organ)
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Orgue
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AVANCÉ
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John Pitts
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Passacaglia in C
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Intensely Pleasant Music
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SheetMusicPlus
Organ - Level 5 - SKU: A0.890713 Composed by John Pitts. Baroque,Christian,Contemporary,Sacred. Score. 20 pages. Intensely Pleasant Music #3424723. Publ...
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Organ - Level 5 - SKU: A0.890713 Composed by John Pitts. Baroque,Christian,Contemporary,Sacred. Score. 20 pages. Intensely Pleasant Music #3424723. Published by Intensely Pleasant Music (A0.890713). Passacaglia (2000-2012) for Organ - 6 minutes This piece exists in versions for organ (this one - the original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001), and finally a piano duet version completed in 2012. The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes). Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨ - F G - D E¨ - B C - F G - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.
$7.99
Passacaglia in C (piano duet)
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1 Piano, 4 mains
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AVANCÉ
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John Pitts
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Passacaglia in C
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Intensely Pleasant Music
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.890701 Composed by John Pitts. Baroque,Contemporary. Score and parts. 36 pages. Intensely ...
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Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.890701 Composed by John Pitts. Baroque,Contemporary. Score and parts. 36 pages. Intensely Pleasant Music #3424663. Published by Intensely Pleasant Music (A0.890701). Passacaglia (2000-2012) duet 6 minutes This piece also exists in versions for organ (my original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001). The piano duet version was finally completed in 2012. The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes). Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨ - F G - D E¨ - B C - F G - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.
$9.99
Concerto in Bb Major for Double Bass and Orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Robert E
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Concerto in Bb Major for Doubl
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R. E. Proctor
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. E. Proctor #2102...
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Full Orchestra - Level 4 - SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. E. Proctor #2102129. Published by R. E. Proctor (A0.809714). A concerto for Double Bass and orchestra in the traditional fast - slow – fast concerto format. While not overly challenging for the bass soloist, it does explore, to a degree, the upper reaches of the instrument as well as sounding the beautiful low range. The first movement is that might be called Neo – Classical, opening with an 8-measure solo in a Largo or slow tempo. The tempo then changes to Allegro (fast) for the balance of the movement. The movement ends as it began with the double bass playing alone. The second movement is a jazz waltz. In 9/8, it opens with the soloist playing pizzicato against a rhythmic cord progression. The bass and cello sections pick this up to provide a ground upon which the balance of the movement is played over. The second movement is in the relative minor of Bb which is G minor. A haunting melody is introduced by the bass and doubled by the strings. This melody is replayed by various instruments as the Bass Soloist plays variations on this theme. The harp and the bass solo end the movement. The third movement leans toward French Impressionism. This movement is Andantino; however, it is a spirited. Written in cut time, where the half note equals 92 beats per minute. The melody is introduced by the woodwinds with the harp accompanying. The strings and brass join in as the woodwinds repeat the melody. Finally, the bass solo takes charge of the melody using it as a theme and variation. The harp is used extensively in this concerto providing harmonic, melodic, and rhythmic support for the bass. Written in 2015, the concerto is a new work, however, it is not experimental music. It uses the standard orchestral instruments playing in the standard fashion. It is replete with modern harmonic sounds and chord progressions. As concerto's go, this one is not overly difficult providing the bassist with a starting point as a soloist. It does require the soloist to have some mastery over the instrument as the music traverses most of the instrument’s range. Performance time is approximately 13 minutes and 10 seconds.
$19.95
In Christ Alone
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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The Newsboys
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Ben Clapton
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In Christ Alone
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Ben Clapton
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.842481 By The Newsboys. By Keith Getty and Stuart Townend. Arranged by Ben Clapton. Christian,Praise &...
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String Quartet String Quartet - Level 4 - SKU: A0.842481 By The Newsboys. By Keith Getty and Stuart Townend. Arranged by Ben Clapton. Christian,Praise & Worship,Religious,Sacred. 14 pages. Ben Clapton #4810117. Published by Ben Clapton (A0.842481). In Christ Alone is a popular modern Christian hymn, written by Keith Getty and Stuart Townend. Composed in 2001, the lyrics of this song are credal in nature, speaking about the life, death and resurrection of Christ.This arrangement is an adaptable arrangement suitable for many uses. The first, repeated section contains a basic hymn tune arrangement that is easy and able to be played by all players. If accompanying singing, then you can just repeat this section for the four verses.Following this, the arrangement explores the text musically. A short shift into the tonic minor expands the words There in the ground His body lay, Light of the world by darkness slain before a sudden shift back to the tonic major with the words Bursting forth in glorious day. The accompaniment becomes a triplet ostinato which helps bring out the victory theme in the latter part of this verse, invoking a feel of a snare drum in a marching band.The music then starts preparing for a final verse, taking a small melodic motif and passing it around the quartet as it modulates up a tone to E major. The last half of this verse is repeated, with the second violin accompanying part mirroring the melody an octave lower to provide a base for the soaring melody of the first violin high on the E string.This arrangement would be suitable for church accompaniment (first section repeated), or for special performance. The first violin part is quite advanced, ranging to G#6 (sixth position), however the remainder of the parts would be playable by intermediate players.
$12.99
My Song in the Night (Downloadable Choral Score)
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Chorale SATB
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FACILE
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Terre Johnson
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My Song in the Night
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
SATB choir, cello, and piano - Moderately Easy - SKU: MQ.50-3104-E Composed by Terre Johnson. Lent. Instrument parts. 14 pages. MorningStar Music Publis...
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SATB choir, cello, and piano - Moderately Easy - SKU: MQ.50-3104-E Composed by Terre Johnson. Lent. Instrument parts. 14 pages. MorningStar Music Publishers - Digital Sheet Music #50-3104-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-3104-E). English.This text from an old Southern folk hymn is given new original music in this anthem setting for SATB, cello, and piano. The piano part can easily be adapted to organ. The voice parts are accessible. The tenors and basses do sing a verse alone, but in unison to two parts. The sum total makes a sort of contemplative tapestry in which the cello moves in and out of the foreground and so do the voices. Set mostly in C minor, there is a middle section where the chorus sings wordlessly against the cello line and the emphasis shifts to E-flat major. Despite the despair in the text, there is also comfort and reassurance here.
$2.85
Banjo Workshop
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Banjo
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DÉBUTANT
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Banjo Workshop
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Banjo - Beginning - SKU: M0.93930EB Bluegrass. E-book. Mel Bay Publications - Digital Sheet Music #93930EB. Published by Mel Bay Publications - Digital ...
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Banjo - Beginning - SKU: M0.93930EB Bluegrass. E-book. Mel Bay Publications - Digital Sheet Music #93930EB. Published by Mel Bay Publications - Digital Sheet Music (M0.93930EB). ISBN 9781513455426. 8.75 x 11.75 inches.Banjo Workshop was written with four important areas of the 5-string banjo technical and artistic development in mind: picking technique, personal style, creativity, and awareness of the instrument's key and tuning potential. Picking technique-Studies in Section 1 will equip you to dissolve the inhibiting notion that some songs are unplayable on the 5-string banjo. Any song is playable if the necessary technique has been learned and developed to accommodate it. Personal style-In Section 2 you will first explore several popular 3-finger sub-styles, seeing how each evolved and how they are all often intermixed within a given performer's own personal style. Through subsequent examples you will be made aware of style potential and the artistic necessity of developing your own personal style. Creativity-Through style development and improvisational skills taught in Section 3 you will begin to think and perform less like a mechanical follower and more like an artistic ground breaker. You will learn to modify arrangements; further, you will learn to create your own arrangements. Exploration of Non-G Keys and Tunings-In Section 4 you will find that playing in keys and tunings other than G are no less fun and no more difficult than playing the familiar G (bluegrass) tuning. Six non-G tunings will be explored, involving ten solos, including major, minor and modal tunings. The overall effort is to make you aware that you don't have to be a technical whiz nor a speed king in order to be a musical artist. If you can add something new and different, something enjoyable to listen to, you are an artist even if you are not yet an advanced-level player.
$19.99
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A New Ground in E Minor - Purcell
