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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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Angel Passing By
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Angel Passing By
Piano seul
Piano Solo - Digital Download SKU: A0.992263 Composed by Gerald Krampl. 20th Centur…
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Piano Solo - Digital Download SKU: A0.992263 Composed by Gerald Krampl. 20th Century,Christmas,New Age. Score. 4 pages. Gerald Krampl #6138935. Published by Gerald Krampl (A0.992263). An original composition of mine for the Advent time.
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3.58 €
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Piano seul
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Gerald Krampl
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Angel Passing By
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Gerald Krampl
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SheetMusicPlus
Like An Angel Passing Through My Room
Chorale 3 parties
Choral Choir (SSA) - Level 2 - Digital Download SKU: A0.793829 By ABBA. By Benny An…
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Choral Choir (SSA) - Level 2 - Digital Download SKU: A0.793829 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Ivana Tuskan. A Cappella. Octavo. 5 pages. Ivana Tuskan #3630051. Published by Ivana Tuskan (A0.793829). This beautiful song is closing track on ABBA's album The Visitors. My arrangement is written in G flat major key for Soprano solo and SSA ensemble a cappella. The score contains 5 pages. Performance Time approx.: 3:35 The sound sample is an electronic preview.
$1.99
1.83 €
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Chorale 3 parties
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ABBA
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Ivana Tuskan
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Like An Angel Passing Through My Room
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Ivana Tuskan
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SheetMusicPlus
Like An Angel Passing Through My Room
Chorale TTBB
Choral Choir (TTBB) - Digital Download SKU: A0.1015399 By ABBA. By Benny Andersson …
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Choral Choir (TTBB) - Digital Download SKU: A0.1015399 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Leon Faurie. Contemporary. Octavo. 4 pages. Leon Faurie #4758697. Published by Leon Faurie (A0.1015399). TTBB for Barbrshop.
$1.99
1.83 €
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Chorale TTBB
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ABBA
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Leon Faurie
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Like An Angel Passing Through My Room
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Leon Faurie
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SheetMusicPlus
Like An Angel Passing Through My Room
Bells,Instrumental Solo - Level 3 - Digital Download SKU: A0.974565 By ABBA. By Ben…
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Bells,Instrumental Solo - Level 3 - Digital Download SKU: A0.974565 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Goos ten Napel. Contemporary. Individual part. 3 pages. Goos ten Napel #6207947. Published by Goos ten Napel (A0.974565).
$4.99
4.58 €
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ABBA
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Goos ten Napel
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Like An Angel Passing Through My Room
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Goos ten Napel
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SheetMusicPlus
Like An Angel Passing Through My Room
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.982165 By ABBA. By Benny A…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.982165 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Colin Douglas. A Cappella. Octavo. 5 pages. Colin Douglas #6063279. Published by Colin Douglas (A0.982165). Arranged for SATB acapella
$20.00
18.37 €
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Chorale SATB
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ABBA
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Colin Douglas
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Like An Angel Passing Through My Room
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Colin Douglas
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SheetMusicPlus
Like An Angel Passing Through My Room
Large Ensemble B-Flat Trumpet,E-Flat Alto Saxophone,E-Flat Baritone Saxophone,Electric Bas…
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Large Ensemble B-Flat Trumpet,E-Flat Alto Saxophone,E-Flat Baritone Saxophone,Electric Bass Guitar,Electric Guitar,Keyboard,Medium-High Voice,Percussion,Tenor Saxophone,Trombone - Level 3 - Digital Download SKU: A0.1137944 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Zeller-Elsässer Dieter. Pop. Score and parts. 13 pages. Ndm-Noten #738200. Published by Ndm-Noten (A0.1137944). Tutti-Arrangement.
$12.99
11.93 €
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ABBA
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Zeller-Elsässer Dieter
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Like An Angel Passing Through My Room
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Ndm-Noten
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SheetMusicPlus
Like An Angel Passing Through My Room
Piano, Voix et Guitare
By ABBA. Pop. Piano/Vocal/Guitar (chords only). 4 pages. Published by Hal Leonard - Digita…
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By ABBA. Pop. Piano/Vocal/Guitar (chords only). 4 pages. Published by Hal Leonard - Digital Sheet Music (HX.365909). - Piano/Vocal/Guitar (chords only) - Pop - Hal Leonard - Digital Sheet Music
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4.58 €
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Piano, Voix et Guitare
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ABBA
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Like An Angel Passing Through My Room
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.03 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Like an Angel Passing Through My Room by ABBA - Piano/Vocal/Chords
Piano, Voix et Guitare
Performed by: ABBA: Like an Angel Passing Through My Room Digital Sheetmusic - instantly d…
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Performed by: ABBA: Like an Angel Passing Through My Room Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords, instruments: Voice;Piano; 4 pages -- Europop~~Pop Rock~~Swedish~~Scandinavian~~AM Pop
$5.79
5.32 €
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Piano, Voix et Guitare
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ABBA
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Piano/Vocal/Chords
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Musicnotes
Piano Trio No. 1 "Poets and Prophets" (piano score - pno, vln, cel)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861898 Composed by …
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Connor Musik International #6206157. Published by Mark O'Connor Musik International (A0.861898). Piano Trio No. 1 Poets and Prophets (piano score – piano, vln, cel) MO160APiano Score (parts available)Music by Mark O’Connor51 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160A
$22.50
20.66 €
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets and Prophets"
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio No. 1 "Poets and Prophets" (violin part - pno, vln, cel)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861899 Composed by …
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Connor Musik International #6206159. Published by Mark O'Connor Musik International (A0.861899). Piano Trio No. 1 Poets and Prophets (violin part – piano, vln, cel) MO160BViolin Part (score and parts available)Music by Mark O’Connor20 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160.
$15.00
13.78 €
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets and Prophets"
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio No. 1 "Poets and Prophets" (cello part - pno, vln, cel)
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by …
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Connor Musik International #6206161. Published by Mark O'Connor Musik International (A0.861901). Piano Trio No. 1 Poets and Prophets (cello part – piano, vln, cel) MO160CCello Part (score and parts available)Music by Mark O’Connor18 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number.
$15.00
13.78 €
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets and Prophets"
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Mark O'Connor Musik International
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SheetMusicPlus
La Mort des Amants
Chorale SATB
Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.1009570 Composed by RKSou…
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Choral Choir (Mixed) - Level 4 - Digital Download SKU: A0.1009570 Composed by RKSouza. Contemporary,Wedding. Octavo. 7 pages. RKSouza #2011163. Published by RKSouza (A0.1009570). La Mort des Amants, for SATB div., is a piece composed for the French poem La Mort des Amants by Charles Baudelaire, a poem which answers the prompt of a lover telling her love I'm scared of this love, to which the poet replies We will have great memories, and our love will be like mirrors and flames, a constant connection of life and happiness. But there will come a time when you will die, and slowly but surely, my mirror will tarnish and my flame will die away. But at that moment, when my mirror is completely tarnished and my flame is nothing but ashes, an angel will swoop me up and bring me back to you. This piece's suspensions represent the flames, while the constant passing of motifs represent the mirrors. I urge you to enjoy singing this piece.
$5.35
4.91 €
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Chorale SATB
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RKSouza
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La Mort des Amants
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RKSouza
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SheetMusicPlus
Scènes d'Enfant
Orgue
Organ - advanced to difficult - Digital Download SKU: S9.Q6221 D'après The Tu…
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Organ - advanced to difficult - Digital Download SKU: S9.Q6221 D'après The Turn of the Screw d'Henry James. Composed by Jean Guillou. This edition: Sheet music. Downloadable. Op. 28. Duration 16 minutes. Schott Music - Digital #Q6221. Published by Schott Music - Digital (S9.Q6221). Though the work bearing this title is a portrait of childhood, it is a childhood quite different from the purely gameplaying and dreamlike childhood that is customarily represented. The childhood described here is carrying the seed, in all its purity, of all positive and negative qualities to be found the fully-grown men: a childhood both angelic and diabolical, and indeed very close to Henry James' The Turn of the Screw which was the direct inspiration for this monodrama. Its growth follows the innumerable sudden changes, turns and contrasts of the unsophisticated spirit. There is hardly any development at all, as each idea gives birth to the next or rejects the previons one, being object to every impulse, every tempest, every flux, every fear and delight. After a dreamlike introduction, in which two simple melodies stand out, comes a sudden awakening, Allegro, stamped all over with lavish and forever regenerating dynamism. A sudden halt leads a kind of outburst from the most simple folklore is singing, in regular, repeated notes. Again the question mark leads us to another melody, Tranquillo, of a sweet tempo, but brilliantly decorated with counter-point, its cursive traits leading this time to a kind of roguish march (Vigoroso). Yet soon there emerges a melancholic chant, Largo, in the Cromorne's timbre, and then, in the highest register of the Trumpet there reappears like a metamorphosed memory, the theme of the second movement. Passing other episodes, we come to Tempo giusto, insistent and glorious, interrupted by other passionate figures, cut off by unsettling silent moments and taken up again in always accelerating volleys.
$22.99
21.11 €
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Orgue
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Jean Guillou
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Scènes d'Enfant
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Schott Music - Digital
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SheetMusicPlus
Your Love
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.973281 Composed by…
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Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.973281 Composed by Louis Burke. Arranged by David Leech. Jazz. Score and Parts. 60 pages. David Leech #4967803. Published by David Leech (A0.973281). Running time: approximately 4:30Your Love is a beautiful ballad composed by the late Louis Burke, a Los Angeles based trumpeter and band leader. Louis came to me and said that he had this love song melody he had composed, and could I write an arrangement of it for his big band. I reharmonized it and made it into an alto sax solo.The first chorus is mostly sax solo, backed by some subtle brass and flute accompaniment. The second chorus starts with 16 bars of sax improvisation, followed by some ensemble work by the trumpets and trombones playing contrapuntally. The chorus ends by passing the contrapuntal baton to the sax section. The whole arrangement comes to a climax in the next eight bars and ends on a romantic note with a restatement of the melody by the alto sax.Medium slow ballad (quarter=76).Brass parts are moderately high. The lead trumpet has several high Ds, and one high E. The contrapuntal writing requires a high degree of independence from the musicians.
$47.50
43.63 €
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Ensemble Jazz
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Louis Burke
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David Leech
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Your Love
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David Leech
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SheetMusicPlus
Tot's Elegiac Calypso (mp3)
Voix moyenne, Piano
Medium Voice,Piano - Level 3 - Digital Download SKU: A0.1312480 By David Warin Solo…
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Medium Voice,Piano - Level 3 - Digital Download SKU: A0.1312480 By David Warin Solomons and Tot. By David Warin Solomons. 21st Century,Contemporary,Folk. Full Performance. Duration 169. David Warin Solomons #901336. Published by David Warin Solomons (A0.1312480). Specially for All Souls day, Tot, my AI composer, laments the passing of the humans of the past in this strangely sad Calypso.
$4.50
4.13 €
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Voix moyenne, Piano
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David Warin Solomons and Tot
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Tot's Elegiac Calypso
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David Warin Solomons
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SheetMusicPlus
Hourglass – for piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.916263 Composed by Rain Worthington…
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Piano Solo - Level 5 - Digital Download SKU: A0.916263 Composed by Rain Worthington. 20th Century,Concert,Contemporary. Score. 7 pages. SR Worthington #3056001. Published by SR Worthington (A0.916263). A musical reflection on the passage of time and the delicacy and variable nature of its passing – as in the shifting phases of sand in a turning hourglass. – RWBeautifully performed by pianist, Nataliya Medvedovskaya. https://youtu.be/RSiO6CrBQF4Rain Worthington’s mood sketches…have a delicate wistfulness and Satie-like repose. ...these chordal repetitions and loopings are strangely compelling. The shifting sands of ‘Hourglass’ stretch time seductively;… – Jack Sullivan, American Record GuideDuration: ca. 8'Publisher: SR Worthington/ASCAP
$3.00
2.76 €
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Piano seul
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Rain Worthington
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Hourglass – for piano
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SR Worthington
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SheetMusicPlus
Gone on Before O'er the River of Time. Song & Chorus
Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4225 Composed by …
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Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4225 Composed by P. O. Hudson. Boats, Adults, Children, Bodies of water, Angels, Stairways, Heaven, Clouds, Death, Human life cycle. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4225). Gone on Before O'er the River of Time. Song & Chorus. Words and Music by P.O. Hudson. Published 1877 by F.W. Helmick, No. 50 West Fourth Street in Cincinnati. Composition of strophic with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Boats, Adults, Children, Bodies of water, Angels, Stairsways, Heaven, Clouds, Death, Human life cycle. First line reads Lov'd ones are passing from shore to shore, one more has been called and has gone on before.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.5 €
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P
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Gone on Before O'er the River of Time. Song & Chorus
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Tell My Father
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1411273 By Sol3 Mio. By Frank Wildhorn and Jack Murphy. Arranged by Nicholas Garrett. Broadway,Musical/Show. Brass Band. 30 pages. Nicholas Garrett #993608. Published by Nicholas Garrett (A0.1411273). Arrangement of Tell My Father for Brass Band - featuring Euphonium, Trombone, and Eb Bass soloists.Tell My Father from the musical Civil War is a heartwrenching song sung by a soldier wishing to let his father know that he died a man.Lyrics:Tell my father that his sonDidn’t run or surrenderThat I bore his name with prideAs I tried to rememberYou are judged by what you doWhile passing throughAs I rest ‘neath fields of greenLet him lean on your shoulderTell him how I spent my youthSo the truth could grow olderTell my father, when you canI was a manTell him we will meet againWhere the angels learn to flyTell him we will meet as menFor with honour did I dieTell him I wore the blueProud and true, through the fireTell my father so he’ll knowI love him soTell him how I wore the blueJust the way that he taught meTell my father not to cryThen say goodbye
$25.00
22.96 €
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Sol3 Mio
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Nicholas Garrett
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Tell My Father
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Nicholas Garrett
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SheetMusicPlus
The Real Hero
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Digital Download SKU: A0.1167834 Composed by Alan Silvestri. Arranged by Chris Gorman. Film/TV. Brass Band. 30 pages. Chris Gorman #768187. Published by Chris Gorman (A0.1167834). Avengers: Endgame premiered in Los Angeles on April 22, 2019, and was released in the United States on April 26, as part of Phase Three of the MCU. The film received praise for its direction, acting, musical score, action sequences, visual effects, and emotional weight, with critics lauding its culmination of the 22-film story. The film grossed $2.798 billion worldwide, surpassing Infinity War's entire theatrical run in just eleven days and breaking numerous box office records, including becoming the highest-grossing film of all time from July 2019 until March 2021. It received a nomination for Best Visual Effects at the 92nd Academy Awards, among numerous other accolades. Fifth and sixth Avengers films, titled Avengers: The Kang Dynasty and Avengers: Secret Wars, respectively, are scheduled to be released in 2025 and 2026.
$35.00
32.15 €
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Alan Silvestri
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Chris Gorman
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The Real Hero
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Chris Gorman
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SheetMusicPlus
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