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Vous avez sélectionné:
Black Is The Colour
Partitions à imprimer
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Black is the Colour
Chorale SATB
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1394714 Composed by…
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Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1394714 Composed by Traditional. Arranged by Elliot Rentoul. 21st Century,A Cappella,Folk,Traditional,Wedding. 4 pages. Elliot Rentoul #978203. Published by Elliot Rentoul (A0.1394714). This intermediate-level arrangement of Black is the Colour uses sections of texts from different artists' versions of the popular folk song to evoke feminine and masculine qualities. It also uses they/them pronouns to describe the love interest to include the diverse, loving relationships of people in your choir. The rich, close harmonies are woven together to create a feeling of wistfulness... perhaps a love long lost. Voice-leading makes these beautiful added note chords accessible to most choirs.
$1.99
1.83 €
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Chorale SATB
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Traditional
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Elliot Rentoul
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Black is the Colour
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Elliot Rentoul
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SheetMusicPlus
Black Is The Colour Of My True Love's Hair
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 3 - Digital Download SKU: A0.799200 Composed …
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String Quartet String Quartet - Level 3 - Digital Download SKU: A0.799200 Composed by Traditional. Arranged by John Milne. Celtic,Folk. Score and parts. 13 pages. Odd Shoe Music #3248559. Published by Odd Shoe Music (A0.799200). The traditional Scottish folk song arranged for String Quartet.There are many popular recorded versions of this song.It features crunchy close spaced chords supporting the plaintive nature of the beautiful melody.The first statement of the tune by the cello and moves on to the other players.There's plenty of melodic interplay to keep the players interested.Duration - 3m.
$12.99
11.92 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Traditional
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John Milne
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Black Is The Colour Of My True Love's Hair
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Odd Shoe Music
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SheetMusicPlus
Black is the colour of my true love's hair
Chorale SATB
Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1291786 Comp…
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Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1291786 Composed by Traditional Irish. Arranged by Desmond Earley. A Cappella,Celtic,Irish,Traditional. 14 pages. Seolta Music Limited #882397. Published by Seolta Music Limited (A0.1291786). Black Is the Colour (of My True Love's Hair) Â is a traditional folk song first known in the Appalachian Mountains region of the United States in 1915, but most probably originating from Scotland, as attributed to the reference to the Clyde in the song's lyrics. Desmond Earley has created a haunting arrangement of this beautiful melody suitable for college/university level choirs.To explore all choral titles in College Choral Series please click here.
$2.50
2.29 €
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Chorale SATB
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Traditional Irish
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Desmond Earley
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Black is the colour of my true love's hair
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Seolta Music Limited
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SheetMusicPlus
Black is the Colour (of my true love's hair)
Small Ensemble Accordion,Acoustic Guitar,Fiddle,Medium Voice,Piccolo - Digital Download
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Small Ensemble Accordion,Acoustic Guitar,Fiddle,Medium Voice,Piccolo - Digital Download SKU: A0.495671 Composed by Traditional. Arranged by Alan Wagstaff. Celtic,Folk,Irish,Traditional. Score and parts. 6 pages. Published by Alan Wagstaff (A0.495671). 'Black is the Colour' emerged in 19th Century Scotland and since has continued to appear in versions on both sides of the Atlantic. It is arranged here for harp, accordion, flute, whistle, fiddle and voice.
$2.50
2.29 €
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Traditional
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Alan Wagstaff
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Black is the Colour
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Alan Wagstaff
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SheetMusicPlus
Celtic Melody - Black is the colour of my true love's hair - harp beginner
Harpe
Harp - Level 1 - Digital Download SKU: A0.859474 Composed by Traditional. Arranged …
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Harp - Level 1 - Digital Download SKU: A0.859474 Composed by Traditional. Arranged by Regina Ederveen. Celtic,Folk,Standards,World. Score. 1 pages. R. Ederveen #6287855. Published by R. Ederveen (A0.859474). Celtic Melody - Black is the colour of my true love's hair - folk harp beginnerfor folk harp, lever harp and pedal harpby Regina Ederveen - harpistwww.reginaederveen.nl
$1.99
1.83 €
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Harpe
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Traditional
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Regina Ederveen
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Celtic Melody - Black is the colour of my true love's hair - harp beginner
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R. Ederveen
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SheetMusicPlus
Black is the Colour of My True Love's Hair
Chorale SSAA
Choral Choir,Choral (SSAA) - Level 4 - Digital Download SKU: A0.1209585 Composed by…
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Choral Choir,Choral (SSAA) - Level 4 - Digital Download SKU: A0.1209585 Composed by Traditional. Arranged by Karen Ivana. A Cappella,Celtic,Folk,Irish,Traditional. 4 pages. Karen Ivana #807736. Published by Karen Ivana (A0.1209585). A traditional love song, popular in the USA, although originally a Scottish song, in an arrangement with a reflective, mystical and occasionally dark feel, for a cappella SSAA choir.
$2.99
2.74 €
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Chorale SSAA
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Traditional
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Karen Ivana
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Black is the Colour of My True Love's Hair
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Karen Ivana
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SheetMusicPlus
The Royal Hussar (Ceremonial Slow March) for Concert/Wind Band ''Keith Terrett Classic March Collect
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.746511 Composed by Keith Terrett.…
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Concert Band - Level 3 - Digital Download SKU: A0.746511 Composed by Keith Terrett. 20th Century,Patriotic,World. 32 pages. Keith Terrett #1989071. Published by Keith Terrett (A0.746511). A slow march I entitled The Royal Hussar, is an original ceremonial slow march of mine, suitable for indoor or outdoor performance. Slow March: This is a ceremonial pace, used for funeral marches and when a unit’s colours are marched out in front of the troops. The feet are kept parallel to the ground and the arms are never used. In the United States Marine Corps, arms swing as the distance they normally would in quicktime, but at the same pace as marching. U.S. Marine Color Guards do not swing their arms. Slow March is typically used in the Marine Corps for funeral details and ceremonies such as the Marine Corps Ball (when the cake is escorted out). In Spain, Latin America, and the Philippines this is done during religious processions whenever a military band joins it. This march style is the official parade march in the armed forces of Bolivia and Ecuador and the military academies and schools of Venezuela, done with the goose step during parades and ceremonies. The standard pace is 60 paces per minute. Famous slow marches include:Preobrajensky Regimental Slow March Presented to the Royal Marines by Admiral of the Fleet The Earl Mountbatten of Burma on 10th June 1964 and first performed as the Regimental Slow March of the Royal Marines on Horse Guards Parade that night. The march was composed by the Russian composer Donajowsky for the Russian Tzar’s Preobrajensky Guard. The Royal Hussars Slow March ’Coburg’, a tune composed by Haydn and arranged by Grant-James in the late 19th Century, is without doubt one of the most well-known and famous Slow Marches to be written. ’The Eagle’, which itself is a combination of the 14th and 20th Hussars slow marches is also a very strong march, but not widely known outside 14th/20th King’s Hussars’ circles. The Garb of Old Gaul (sometimes given as Auld Gaul) is an 18th-century patriotic Scottish march and song about Highland soldiers during the Seven Years War. The music was written by General John Reid, who was a senior officer of the 42nd Regiment of Foot (The Black Watch) during the Seven Years War. The words have traditionally been attributed to Sir Harry Erskine (1710 -1765). Robert Burns described it as This excellent loyal Scottish song and states that it first appeared in print in Herd’s Collection of 1769. Alternative titles include The Highland Character and The Highland or 42nd Regiment’s March. The tune was originally a quick march but was later rearranged as a slow march. Other famous slow marches of the British Army include Golden Spurs & Scipio. Put away Scipio, Coburg & Garb of Old gaul, time for a newcomer on the block! For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.
$29.99
27.51 €
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Orchestre d'harmonie
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Keith Terrett
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Scipio
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The Royal Hussar
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Keith Terrett
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SheetMusicPlus
The Colour
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.930174 Composed by Kenji Fujimura. C…
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Choral Choir (SATB) - Digital Download SKU: A0.930174 Composed by Kenji Fujimura. Contemporary,Romantic Period. Octavo. 10 pages. Kenji Fujimura #3360341. Published by Kenji Fujimura (A0.930174). The Colour for voice and piano by Kenji Fujimura C#4 - C#5What shall I bring you?Please will white doBest for your wearingThe long day through? White is for weddings,Weddings, weddings,White is for weddings,And that won't do.What shall I bring you?Please will red doBest for your wearingThe long day through? Red is for soldiers,Soldiers, soldiers,Red is for soldiers,And that won't do.What shall I bring you?Please will blue doBest for your wearingThe long day through? Blue is for sailors,Sailors, sailors,Blue is for sailors,And that won't do.What shall I bring you?Please will green doBest for your wearingThe long day through? Green is for mayings,Mayings, mayings,Green is for mayings,And that won't do.What shall I bring youThen? Will black doBest for your wearingThe long day through? Black is for mourning,Mourning, mourning,Black is for mourning,And black will do.Thomas Hardy/Wessex folk rhyme
$3.99
3.66 €
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Chorale SATB
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Kenji Fujimura
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The Colour
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Kenji Fujimura
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SheetMusicPlus
Orgelsinfonie No. 16
Orgue
Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed b…
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Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Schott Music - Digital #Q45183. Published by Schott Music - Digital (S9.Q45183). On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air. 5th movement: The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
$21.99
20.17 €
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Orgue
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Enjott Schneider
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Orgelsinfonie No. 16
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Schott Music - Digital
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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
22.01 €
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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
Song For My Father
Instruments en Do
C Instrument - Level 3 - Digital Download SKU: A0.1335914 By Horace Silver. By Hora…
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C Instrument - Level 3 - Digital Download SKU: A0.1335914 By Horace Silver. By Horace Silver. Arranged by Ian Dustin. Jazz,Latin,Standards. Lead Sheet / Fake Book. 1 pages. Ian Dustin #921745. Published by Ian Dustin (A0.1335914). Jazz standard. Simplified lead sheet using slash notation, guitar chords, lyrics, without melody.This arrangement is in colour (dark mode); for digital devices. Â See other of same arrangement in black and white (light mode); printer friendly.
$3.99
3.66 €
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Instruments en Do
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Horace Silver
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Ian Dustin
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for digital devices
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Song For My Father
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Ian Dustin
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SheetMusicPlus
All I Want For Christmas Is You
Instruments en Do
C Instrument - Level 3 - Digital Download SKU: A0.1342754 By Mariah Carey. By Maria…
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C Instrument - Level 3 - Digital Download SKU: A0.1342754 By Mariah Carey. By Mariah Carey and Walter Afanasieff. Arranged by Ian Dustin. Christmas,Contemporary,Film/TV,Holiday,Pop. Lead Sheet / Fake Book. 2 pages. Ian Dustin #928258. Published by Ian Dustin (A0.1342754). Lyric Sheet.This arrangement is in colour (dark mode); for digital devices. Â See other of same arrangement in black and white (light mode); printer friendly.
$3.99
3.66 €
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Instruments en Do
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Mariah Carey
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Ian Dustin
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for digital devices
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All I Want For Christmas Is You
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Ian Dustin
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SheetMusicPlus
Purple and Black
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1202643 By Andrew Harrison. By Andr…
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Piano Solo - Level 3 - Digital Download SKU: A0.1202643 By Andrew Harrison. By Andrew Harrison. 20th Century,Classical,Instructional,Jazz. Score. 5 pages. Phantom Dog Music #801407. Published by Phantom Dog Music (A0.1202643). I wrote Purple and Black in 2006 for Erin M – who was one of my piano students – for her to perform at a concert. The title of the piece takes its inspiration from the colours of Erin’s tracksuit, which she often wore to her early Saturday-morning lessons!Technically, Purple and Black suits an intermediate piano student who is interested in exploring jazz piano styles, and developing their sense of ‘groove’ playing.Andrew Harrison.
$6.99
6.41 €
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Piano seul
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Andrew Harrison
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Purple and Black
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Phantom Dog Music
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SheetMusicPlus
Hoist The Colours
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: A0.1358786 Composed by Gore Verbinski, Hans Zimmer, Ted Elliot, and Terry Rossio. Arranged by Andi Cook. Film/TV,Folk,Traditional. Brass Band. 26 pages. Andi Cook #943247. Published by Andi Cook (A0.1358786). A concert arrangement of the famous song to summon the nine pirate kings, featured in the the third Pirates of the Caribbean movie. Though not a traditional sea-shanty, having been written for the film, it very much has the feel of one. This setting for brass band, features the lower voices of the ensemble, and makes great use of the pitch-black harmony the original is rightly famous for. If your band has a strong bass section, trombone section and euphonium/baritone line then this could be the version for you! Building from an expressive Eb bass solo, the music takes on a darker and bolder turn as it grows. A lighter interlude follows, before a broad chorale conclusion. Guaranteed to impress any audience.
$24.99
22.92 €
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Gore Verbinski, Hans Zimmer, Ted Elliot, and Terry Rossio
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Andi Cook
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Hoist The Colours
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Andi Cook
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SheetMusicPlus
The Artist Ouverture
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1292593 Composed by Ludovic Bou…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1292593 Composed by Ludovic Bource. Arranged by Kevin Riley. 21st Century,Film/TV. Score and Parts. 155 pages. Kevin Riley #883150. Published by Kevin Riley (A0.1292593). The Artist is a 2011 French[nb 1] comedy-drama film[nb 2] in the style of a black-and-white silent film or part-talkie. The film was written and directed by Michel Hazanavicius, produced by Thomas Langmann and stars Jean Dujardin and Bérénice Bejo. The story takes place in Hollywood, between 1927 and 1932, and focuses on the relationship between a rising young actress and an older silent film star as silent cinema falls out of fashion and is replaced by the talkies.The Artist received widespread critical acclaim and won many accolades. Dujardin won Best Actor at the 2011 Cannes Film Festival, where the film premiered. The film was nominated for six Golden Globes, the most of any 2011 film, and won three: Best Motion Picture – Musical or Comedy, Best Original Score, and Best Actor – Motion Picture Musical or Comedy for Dujardin. In January 2012, the film was nominated for twelve BAFTAs, the most of any film from 2011, and won seven, including Best Film, Best Director, Best Actor for Dujardin, and Best Original Screenplay for Hazanavicius.It was nominated for ten Academy Awards and won five,including Best Picture, Best Director for Hazanavicius, and Best Actor for Dujardin, making him the first French actor ever to win in this category. It was also the first French-produced film to win Best Picture, and the first mainly silent film to win since 1927's Wingswon at the 1st Academy Awards in 1929. It was also the first film presented in the 4:3 aspect ratio to win since 1953's From Here to Eternity. Additionally, it was the first black-and-white film to win since 1993's Schindler's List, though the latter contained limited colour sequences; it was the first 100% black-and-white film to win since 1960's The Apartment.In France it was nominated for ten César Awards, winning six, including Best Film, Best Director for Hazanavicius, and Best Actress for Bejo. The Artist has received more awards than any other French film.
$100.00
91.73 €
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Orchestre
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Ludovic Bource
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Kevin Riley
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The Artist Ouverture
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Kevin Riley
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SheetMusicPlus
Song For My Father
Instruments en Do
C Instrument - Level 3 - Digital Download SKU: A0.1335912 By Horace Silver. By Hora…
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C Instrument - Level 3 - Digital Download SKU: A0.1335912 By Horace Silver. By Horace Silver. Arranged by Ian Dustin. Jazz,Latin,Standards. Lead Sheet / Fake Book. 1 pages. Ian Dustin #921723. Published by Ian Dustin (A0.1335912). Jazz standard. Simplified lead sheet using slash notation, guitar chords, lyrics, without melody.This arrangement is in black and white (light mode); printer friendly. See other of same arrangement in colour (dark mode); for digital devices.
$3.99
3.66 €
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Instruments en Do
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Horace Silver
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Ian Dustin
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printer friendly
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Song For My Father
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Ian Dustin
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SheetMusicPlus
Black Hymns
Violon et Piano
Violin and piano - Digital Download SKU: S9.Q43624 For violin and piano. Com…
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Violin and piano - Digital Download SKU: S9.Q43624 For violin and piano. Composed by Fazil Say. This edition: score and part. Violin Library. Downloadable, Score and part. Duration 16 minutes. Schott Music - Digital #Q43624. Published by Schott Music - Digital (S9.Q43624). This work by 17-year-old Fazil Say is from the early creative period of the Turkish composer. Supported by Aribert Reimann and David Levine, he composed the four pieces for the 750th anniversary of the founding of Berlin, and they were premiered during the celebrations in 1987. The first monodic piece already shows the oriental melody that became more pronounced later, whereas the other pieces surprise with novel tone colours, inside-piano effects and specific rhythmic features.
$23.99
22.01 €
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Violon et Piano
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Fazil Say
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Black Hymns
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Schott Music - Digital
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SheetMusicPlus
All I Want For Christmas Is You
Instruments en Do
C Instrument - Level 3 - Digital Download SKU: A0.1342753 By Mariah Carey. By Maria…
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C Instrument - Level 3 - Digital Download SKU: A0.1342753 By Mariah Carey. By Mariah Carey and Walter Afanasieff. Arranged by Ian Dustin. Christmas,Contemporary,Film/TV,Holiday,Pop. Lead Sheet / Fake Book. 2 pages. Ian Dustin #928255. Published by Ian Dustin (A0.1342753). Lyric Sheet.This arrangement is in black and white (light mode); printer friendly. See other of same arrangement in colour (dark mode); for digital devices.
$3.99
3.66 €
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Instruments en Do
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Mariah Carey
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Ian Dustin
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printer friendly
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All I Want For Christmas Is You
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Ian Dustin
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SheetMusicPlus
Black Is the Colour by Celtic Thunder - Piano/Vocal/Guitar
Piano, Voix et Guitare
Performed by: Celtic Thunder: Black Is the Colour Digital Sheetmusic plus an interactive, …
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Performed by: Celtic Thunder: Black Is the Colour Digital Sheetmusic plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal/Guitar, instruments: Voice;Piano;Guitar; 7 pages -- Folk~~Traditional~~Celtic Rock
$5.50
5.04 €
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Piano, Voix et Guitare
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Celtic Thunder
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Piano/Vocal/Guitar
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Musicnotes
Fade To Black
Fanfare
Marching Band - Level 2 - Digital Download SKU: A0.1444870 By Metallica. By Cliff B…
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Marching Band - Level 2 - Digital Download SKU: A0.1444870 By Metallica. By Cliff Burton, James Hetfield, Kirk Hammett, and Lars Ulrich. Arranged by Kara Williams. Contemporary,Contest,Festival,Latin,March,Rock. 42 pages. Kara Williams #1024739. Published by Kara Williams (A0.1444870). A 2024 entrant in the Arrange Me ‘Metallica for Marching Band’ Competition, this clever, fun (and very, VERY catchy!) arrangement of Metallica’s ‘Fade To Black’ by Kara Williams has been completely reimagined in an Afro-Cuban “Guaguanco” style groove with Metallica’s distinctive vocal and guitar lines shining through. With fantastic rhythmic teaching points throughout, this chart also has scoring flexibility making it accessible for a range larger and smaller ensembles – including wind ensemble settings. Percussion parts can be customised to suit available ensemble players/instruments, and non-core marching band wind-player parts (see front cover) are provided. Whilst important tonal colours, the Horn in F part can be optional as it is covered by saxes/trombone, and mallets are optional. Director discretion can be applied to any of the piccolo/flute 8va-loco sections. karawilliamsmusic.com.
$49.99
45.85 €
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Fanfare
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Metallica
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Kara Williams
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Fade To Black
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Kara Williams
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SheetMusicPlus
Die Reise nach Batumi
Piano seul
Piano - Digital Download SKU: RX.9783737803298 Sheet music for piano. Compos…
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Piano - Digital Download SKU: RX.9783737803298 Sheet music for piano. Composed by Mulo Francel, Quandro Nuevo. Text language: English. World music. 4 pages. Published by Roba Music Verlag (RX.9783737803298). This song is a travelling song written under the impression of several tours through South and East Europe, the Balkans and around the Black Sea. Dedicated to Jason, the hero of the Greek mythology, it has to be played in a hymnic manner. Jason went on a most adventurous journey to the very outermost coast of the Black Sea with this motley entourage - the Argonauts - in order to seize the Golden Fleece, a gigantic golden ram skin. Just about where the Georgian city of Batumi is today. If you would like to know more about it, you may want to read the chapter “Die Reise nach Batumi†(The Journey to Batumi) in our roadbook “Quadro Nuevo: Grand Voyage. To every person who is interested in these old myths, I recommend the books of the author and journalist Michael Kohlmeier, for example his amusing interpretations of the Sagen des Klassischen Altertums (Sagas of the classical antiquity). Just East of Batumi the Caucasus begins, with its colourful mixture of ancient peoples and cultures. I have always been fascinated with musicians who originate from this region. For example the composer Aram Katschaturian or the pianist David Gazarov, with whom I often play concerts. An Eastern groove suits this song well, quite comparable to a fast rumba. I suggest you play the intro (may be extended) and the theme (measures 6 to 39) first. Then you may improvise freely over the AABA-form of the theme. The last solo part is shortened because the B-part leads into a percussion solo. This percussion solo may be omited. After the last complete solo part you can repeat the theme and then play the al fine. For Improvisation: On a separate sheet I am offering some scales to the chords of the song in various transpositions, which is helpful as basic material for improvisations. Some chords (like the very first one) fit several different scales. Decide for yourself which one you prefer. Or maybe even make up your own. Even though these notes may sound right with the chords, one thing always holds true in creative music: There should be no dogmatic wrong or right. Sometimes what seems like a wrong note, could give the progression of the melody its special colour, tension and spice. Sometimes an improvisation with exclusive right notes is correct in music theory, but sounds terribly boring. Besides, every improviser is encouraged to happily help themselves to the chromatics. All of this is only a suggestion. Music becomes exciting and colourful when the basic material is interpreted in an imaginative and creative way!
$6.19
5.68 €
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Piano seul
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Mulo Francel, Quandro Nuevo
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Die Reise nach Batumi
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Roba Music Verlag
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SheetMusicPlus
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