All I Can Do - Partitions musicales à imprimer - Mondial de la partition numérique

Partitions numériques Accès après achat

Expédition postale Téléchargement

TRI ET FILTRES

Vous avez sélectionné:

All I Can Do

CONTEMPORAIN - 20-21EME SIECLE

Partitions à imprimer

184 partitions trouvées

....

176

A Week in November - Sally Whitwell

Piano seul

Piano Solo - Level 5 - Digital Download SKU: A0.873046 Composed by Sally Whitwell. …(+)

$15.00 13.76 € #Piano seul #Sally Whitwell #A Week in November - Sally Whitwell #Sally Whitwell #SheetMusicPlus

I Can Do All Things Through Christ That Strengthens Me

Piano Facile

Easy Piano - Level 1 - Digital Download SKU: A0.562151 By The Clark Sisters. By Elb…(+)

$4.99 4.58 € #Piano Facile #The Clark Sisters #Samuel Stokes #I Can Do All Things Through Christ That Strengthens Me #SamuelStokesMusic.com #SheetMusicPlus

Wee Small Hours

Instruments en Do

C Instrument - Level 4 - Digital Download SKU: A0.1122368 Composed by Andrea Litkei…(+)

$3.99 3.66 € #Instruments en Do #Andrea Litkei and Ervin Litkei #John Fries #Wee Small Hours #John Fries #SheetMusicPlus

All We Know

Instruments en Do

C Instrument - Level 4 - Digital Download SKU: A0.1123737 By The Chainsmokers. By A…(+)

$3.99 3.66 € #Instruments en Do #The Chainsmokers #John Fries #All We Know #John Fries #SheetMusicPlus

What do they matter? (for medium-high voice and harp)

Small Ensemble Harp,Voice - Level 5 - Digital Download SKU: A0.799604 Composed by N…(+)

$5.99 5.49 € #Nicole Elyse DiPaolo #What do they matter? #Nicole Elyse DiPaolo #SheetMusicPlus

Call Me Irresponsible

Piano seul

Piano Solo - Level 4 - Digital Download SKU: A0.1325027 By Dinah Washington. By Jam…(+)

$5.99 5.49 € #Piano seul #Dinah Washington #John Fries #Call Me Irresponsible #John Fries #SheetMusicPlus

Two Shakespeare Sonnets, Art Songs for Tenor, "Summers Day" and "How Heavy Do I Journey"

Voix Tenor

Tenor Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.730202 Composed by Jame…(+)

$6.00 5.5 € #Voix Tenor #James Nathaniel Holland #Two Shakespeare Sonnets, Art Songs for Tenor, "Summers Day" and "How Heavy Do I Journey" #James Nathaniel Holland #SheetMusicPlus

J.Offenbach - Duet op.49 - transcribed for two violins (all 3 movements)

Small Ensemble - Digital Download SKU: A0.955909 Composed by J.Offenbach. Arranged …(+)

$7.00 6.42 € #J #CoversFor2Violins #J.Offenbach - Duet op.49 - transcribed for two violins #Adela Urcan #SheetMusicPlus

All I Can Do Is Praise - High edition

Voix seule

Composed by Daniel Barta. Sacred. 28 pages. Shaw Music #693876. Published by Shaw Mu…(+)

$11.95 10.96 € #Voix seule #Daniel Barta #All I Can Do Is Praise - High edition #Shaw Music #SheetMusicPlus

Passacaglia

Piano seul

Piano Solo - Level 4 - Digital Download SKU: A0.873027 Composed by Sally Whitwell. …(+)

$2.99 2.74 € #Piano seul #Sally Whitwell #Passacaglia #Sally Whitwell #SheetMusicPlus

The Fog Meets the Storm for small wind band and percussion

Orchestre d'harmonie

Concert Band - Level 4 - Digital Download SKU: A0.995515 Composed by James M Johnso…(+)

$50.00 45.86 € #Orchestre d'harmonie #James M Johnson #The Fog Meets the Storm for small wind band and percussion #Myles Music James Johnson #SheetMusicPlus

I Remember You

Instruments en Do

C Instrument - Digital Download SKU: A0.808248 By Jo Stafford. By Victor Schertzing…(+)

$4.99 4.58 € #Instruments en Do #Jo Stafford #Mark W #I Remember You #Mark Wayne Music, LLC #SheetMusicPlus

I Want A Little Girl

Instruments en Do

C Instrument - Digital Download SKU: A0.808220 Composed by Billy Moll and Murray Me…(+)

$4.99 4.58 € #Instruments en Do #Billy Moll and Murray Mencher #Mark W #I Want A Little Girl #Mark Wayne Music, LLC #SheetMusicPlus

What Else Can I Do?

Piano seul

Easy Piano - Level 1 - Digital Download SKU: A0.893936 By Diane Guerrero & Stephani…(+)

$4.99 4.58 € #Piano seul #Diane Guerrero & Stephanie Beatriz #Joan Bujacich #The #What Else Can I Do? #Joan Bujacich #SheetMusicPlus

What Else Can I Do?

Piano seul

Piano Solo - Level 2 - Digital Download SKU: A0.893937 By Diane Guerrero & Stephani…(+)

$4.99 4.58 € #Piano seul #Diane Guerrero & Stephanie Beatriz #Joan Bujacich #The arrangement #What Else Can I Do? #Joan Bujacich #SheetMusicPlus

Concerto
Piano et Orchestre

Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …(+)

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)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 22 € #Piano et Orchestre #Gyorgy Ligeti (1923-2006) #Concerto #Schott Music - Digital #SheetMusicPlus

It Ain't What You Do
Orchestre

Guitar Ensemble Guitar - Level 3 - Digital Download SKU: A0.797809 By Bananarama. B…(+)

Guitar Ensemble Guitar - Level 3 - Digital Download SKU: A0.797809 By Bananarama. By James Young and Sy Oliver. Arranged by Derek Hasted. Contemporary. Score and parts. 23 pages. Derek Hasted #6205715. Published by Derek Hasted (A0.797809). T'AINT WHAT YOU DO - 5 GUITARS/LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This arrangement was inspired by the Bananarama & Fun Boy Three release, but in a nod to the fact that this piece was written many years before it was re-worked, Iâ€™ve taken it back still further in time, and the piece begins slowly and stately, like a Pavane, before moving to a busy Madrigal and finally to Big Band Shuffle.The piece suits 5 guitars, but a large ensemble will, of course, make a bigger and more compelling sound.It is ideal for a mixed ability group - the lower parts can all be played in first position whereas the upper parts go as high as the ninth position.This arrangement is based on a version that was played in concert by the Hampshire Guitar Orchestra - itâ€™s pretty much guaranteed to get feet tapping in the audience...I hope you enjoy this piece!
$4.99 4.58 € #Orchestre #Bananarama #Derek Hasted #It Ain't What You Do #Derek Hasted #SheetMusicPlus

Funeral For A Tree
Chorale SATB

Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.874246 Composed by John P…(+)

Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.874246 Composed by John Powell. Arranged by a do Ray me flute studio production , Ray-Michael Kauffman. Contemporary. Octavo. 31 pages. As do Ray meflute studio production #3885051. Published by as do Ray meflute studio production (A0.874246). Https://www.youtube.com/watch?v=PqIQfHGxLEg&feature=youtu.be With thoughts leaning and reflecting on the end on Fall, and November, I canâ€™t help but notice the beauty of fall and the trees and foliage. This wonderous little musical piece , from the motion picture The Lorax from the Dr. Seuss movie, depicts of the main character the Lorax speaking for the trees and in many ways advocating for all things, people and groups that can not speak for themselves. And even in the times that we live in, this story still rings true today. And beauty can still be found in sadness, or endings whether the be falling leaves in the park, or even with the events that are said , we grow and learn, being grateful for what we have , and learn to find our voices to speak out for the things that truly matter in life. This music, which is much like a hymnal, especially in the beginning of the piece, is perfect for this message. A message of peace, reflectiveness and hope and courage. As a side note , this piece should be played with lots of thoughtful rubato, and when the meter changes for 4/4(5/4) to 12/8, the beat does not change from quarter to dotted quarter .In the middle, minor section, I really added and improvised my musical skills per chord and melody of the song which makes my arrangement very distinctive, individual and unique. This would be great for a movie themed concert, all by it's self, for a funeral, for Arbor Bay/ Tree ceremony , for fall or autumn music/ themed programs, recitals, etc. Sure to be a well used piece in your collection. Scored for piccolo, flute 1, 2, 3 4, alto and bass flute. This pieces suites smaller groups , such as 1 per part, or doubling up with discretion. please visit my website at doraymeflute.com , too!I hope you enjoy this as much as I do, thank you for your support.#movie music #arborday#holidaymusic #fallmusic #holiday #fall #autumn #season #flutechoir #movieflute #autumnmusic
$14.99 13.75 € #Chorale SATB #John Powell #Funeral For A Tree #as do Ray meflute studio production #SheetMusicPlus

I Do I Do I Do I Do

Small Ensemble Alto Saxophone,Tenor Saxophone,Trombone,Trumpet - Level 4 - Digital Downloa…(+)

Small Ensemble Alto Saxophone,Tenor Saxophone,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.1004917 By ABBA. By Benny Andersson, Bjorn Ulvaeus, and Stig Anderson. Arranged by Violi. Contemporary. Score and parts. 5 pages. Jenna McAndrew #4605347. Published by Jenna McAndrew (A0.1004917). I Do I Do I Do Full Woodwinds & Brass score (from MAMMA MIA!).
$12.99 11.91 € #ABBA #Violi #Brass score (from MAMMA MIA!) #I Do I Do I Do I Do #Jenna McAndrew #SheetMusicPlus

They Can't Take That Away From Me from THE BARKLEYS OF BROADWAY from SHALL WE DANCE
Saxophone Alto

Alto Saxophone Solo - Level 4 - Digital Download SKU: A0.839225 By Frank Sinatra. B…(+)

Alto Saxophone Solo - Level 4 - Digital Download SKU: A0.839225 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by Bobby Hesch. 20th Century. Individual part. 3 pages. Bobby Hesch #5359445. Published by Bobby Hesch (A0.839225). ***THEY CAN'T TAKE THAT AWAY FROM ME***!!! GREATNESS BY GEORGE & IRA GERSHWIN!!! THE WAY YOU WEAR YOUR HAT!!! LET'S PLAY SOME JAZZ!!! PERFORMED IN 1937 BY FRED ASTAIRE!!! STILL GREAT TODAY!!!GIANTS WHO MADE JAZZ GREAT!!! KEY OF A!!! LOW B - HIGH C#!!! CHECK OUT THE MP3 FOR JAZZ STYLE & INTERPRETATION!!! PLAY IN A COOL LAID BACK STYLE!!! I LOVE TO PLAY THIS TUNE!! HOPE YOU DO TOO!!!CONTACT INFORMATION:bobbyhesch@yahoo.com
$4.99 4.58 € #Saxophone Alto #Frank Sinatra #Bobby Hesch #They Can't Take That Away From Me from THE BARKLEYS OF BROADWAY from SHALL WE DANCE #Bobby Hesch #SheetMusicPlus

Do You Love Me
Quatuor à cordes: 2 violons, alto, violoncelle

String Quartet String Quartet - Level 3 - Digital Download SKU: A0.845345 By The Co…(+)

String Quartet String Quartet - Level 3 - Digital Download SKU: A0.845345 By The Contours. By Berry Gordy Jr. Arranged by Bridie Walker. Contemporary. Score and parts. 23 pages. Bridie Bailey #5040949. Published by Bridie Bailey (A0.845345). A fun arrangement for violin quartet plus easy cello. The offbeat rhythms in the melody and 'question and answer' sections in parts 1-3 make this a suitable challenge for intermediate players but beginners can join in on open strings for violin 4. The cello part is integral in this arrangement so should be played on another instrument if you don't have a cello player in your ensemble!Please note that the piano and drums that you can hear on the audio sample are not included in the sheet music, but chords can easily be found online. I hope you enjoy the arrangement. .
$12.99 11.91 € #Quatuor à cordes: 2 violons, alto, violoncelle #The Contours #Bridie Walker #Do You Love Me #Bridie Bailey #SheetMusicPlus

Do You Hear What I Hear
Ukulele

Ukulele - Level 3 - Digital Download SKU: A0.545491 By Carrie Underwood. By Gloria …(+)

Ukulele - Level 3 - Digital Download SKU: A0.545491 By Carrie Underwood. By Gloria Shayne and Noel Regney. Arranged by Cindy Blevins. Contemporary. Score. 4 pages. Cindy Blevins #6097535. Published by Cindy Blevins (A0.545491). My ukulele has a low G string, and my arrangements are notated using the low G. If your uke has a high G, you can use the exact same fingerings and chords. It will just sound a bit different. TAB and notation. Check out the music sample if you are unsure of what it entails. Please note that the music samples sometimes do not handle music notation all that well, but your download will look perfectly normal. My website: www.blevinsmusic.com
$4.99 4.58 € #Ukulele #Carrie Underwood #Cindy Blevins #Do You Hear What I Hear #Cindy Blevins #SheetMusicPlus

Løvfald ("Falling Leaves")
2 Pianos, 4 mains

2 Pianos,4 Hands,Piano Duet - Level 3 - Digital Download SKU: A0.921614 Composed by…(+)

2 Pianos,4 Hands,Piano Duet - Level 3 - Digital Download SKU: A0.921614 Composed by Christian Vestergaard. Contemporary. Score. 11 pages. Christian Vestergaard #4810583. Published by Christian Vestergaard (A0.921614). A late night improvisation on the piano, about 3Â½ minutes long. Technically not a particularly difficult piece to learn. I do a lot of improvisations on the piano and sometimes they end up as finished piano works like this one :-)The synth part is optional, so the piece can be performed as a piano solo, or as a duet with a synth player. I recommend using a sustain pedal and mod wheel for the synth, like I did in my own recording of the piece.Christian Vestergaard, Composer & Pianistwww.christianvestergaard.dk www.youtube.com/cvnielsenwww.facebook.com/chrvestergaardwww.soundcloud.com/christian-vestergaard-wennerlin
$3.99 3.66 € #2 Pianos, 4 mains #Christian Vestergaard #Løvfald #Christian Vestergaard #SheetMusicPlus

All Alone Am I
Piano seul

Piano Solo - Level 3 - Digital Download SKU: A0.877178 By Brenda Lee. By Manos Hadj…(+)

Piano Solo - Level 3 - Digital Download SKU: A0.877178 By Brenda Lee. By Manos Hadjidakis. Arranged by Ioannis Kalpakis www.pianistas.gr. Contemporary. Score. 2 pages. Ioannis Kalpakis #6618559. Published by Ioannis Kalpakis (A0.877178). This is an arrangement for medium solo piano of the song All Alone Am I.All Alone Am I is a song from 1962 popularized by the American singer Brenda Lee. The song was originally composed by the Greek composer Manos Hadjidakis and recorded in Greek by Tzeni Karezi for the soundtrack of the film To nisi ton genneon (The Island of the Brave); the original song in Greek is titled ÎœÎ·Î½ Ï„Î¿Î½ ÏÏ‰Ï„Î¬Ï‚ Ï„Î¿Î½ Î¿Ï…ÏÎ±Î½ÏŒ (Min ton rotas ton ourano, translation: Don't ask the heaven).All Alone Am I became a top 10 pop hit in both the US and the UK. The song peaked at number three on the Billboard Hot 100 chart in November 1962 and number seven on the UK Singles Chart in February 1963. The song also spent five weeks atop the US Billboard easy listening chart in November and December 1962, Lee's only song to do so. The B-side to the single, Save All Your Lovin' For Me, reached number 53 on the US pop chart.Duration: 2:54 minutesâœ”ï¸ For students who would like to take advantage of internet technology, lessons are now available over the internet via Skype.Contact:giannismusic@gmail.comSkype id: mathimata
$7.99 7.33 € #Piano seul #Brenda Lee #Ioannis Kalpakis www #All Alone Am I #Ioannis Kalpakis #SheetMusicPlus

I'm Sorry
Piano, Voix

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.794135 By Brenda Lee. By Dub…(+)

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.794135 By Brenda Lee. By Dub Albritten and Ronnie Self. Arranged by Dave Gingras and John E. Dosher. Contemporary. Score. 2 pages. DAVID LEE GINGRAS #6603665. Published by DAVID LEE GINGRAS (A0.794135). I'm Sorry is a 1960 hit song by 15-year-old American singer Brenda Lee. It peaked at No. 1 on the Billboard Hot 100 singles chart in July 1960. AllMusic guide wrote that it is the pop star's definitive song, and one of the finest teen pop songs of its era. It was written by Dub Allbritten and Ronnie Self. On the UK Singles Chart, the song peaked at No.12. This contemporary version features a root-based chord-blocking that John and I have used in a number of our arrangements. We like it and hope you do, too!
$4.99 4.58 € #Piano, Voix #Brenda Lee #Dave Gingras and John E #I'm Sorry #DAVID LEE GINGRAS #SheetMusicPlus

<

1
26

51
....
176