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Vous avez sélectionné:
Black Math
Partitions à imprimer
22 partitions trouvées
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1
Black Math
Batterie
Drums - Level 1 - Digital Download SKU: A0.1275605 By White Stripes. By Jack White.…
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Drums - Level 1 - Digital Download SKU: A0.1275605 By White Stripes. By Jack White. Arranged by Felipe Gonçalves. Blues,Country,Pop,Rock. Score. 1 pages. Felipe Gonçalves #867476. Published by Felipe Gonçalves (A0.1275605). Drums simplified arrangement music Black Math by White Stripes.
$4.99
4.58 €
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Batterie
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White Stripes
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Felipe Gonçalves
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Black Math
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Felipe Gonçalves
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SheetMusicPlus
Black Mountain Rag for Fiddle
Violon et Piano
Small Ensemble Fiddle,Piano,Violin - Level 4 - Digital Download SKU: A0.929349 Comp…
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Small Ensemble Fiddle,Piano,Violin - Level 4 - Digital Download SKU: A0.929349 Composed by Traditional. Arranged by Bob Mathews. Country,Traditional,World. Score and parts. 18 pages. Bob Mathews #6533297. Published by Bob Mathews (A0.929349). Black Mountain Rag is a great old show tune. Everyone in the world of Bluegrass or Fiddle has played this at one time or another. The Fiddle 1 part is played just like you would normally finger the strings, except the E string is tuned down to a C#. It gives the song a very cool Old-Timey sound. The Fiddle 2 part is written keeping the E string tuned to E. Have fun with this one! This is a true crowd pleaser!! Enjoy.
$5.00
4.59 €
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Violon et Piano
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Traditional
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Bob Mathews
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Black Mountain Rag for Fiddle
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Bob Mathews
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SheetMusicPlus
Black And White Rag for solo Violin/viola/cello
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio Cello,Viola,Violin - Digital Download SKU: A0.929279 Co…
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String Ensemble,String Trio Cello,Viola,Violin - Digital Download SKU: A0.929279 Composed by George Botsford (1908). Arranged by Bb Mathews. Folk,Ragtime. Score and parts. 18 pages. Bob Mathews #5889225. Published by Bob Mathews (A0.929279). This is an arrangement of this great old rag from Tin Pan Alley.Can be played solo violin/viola/cello, or with bass and piano, or guitar. .
$4.99
4.58 €
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Trio à Cordes: violon, alto, violoncelle
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George Botsford
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Bb Mathews
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Black And White Rag for solo Violin/viola/cello
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Bob Mathews
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SheetMusicPlus
Paint It, Black
Alto seul
Viola Solo - Level 3 - Digital Download SKU: A0.1212890 By The Rolling Stones. By K…
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Viola Solo - Level 3 - Digital Download SKU: A0.1212890 By The Rolling Stones. By Keith Richards and Mick Jagger. Arranged by Natalie Spehar. Contemporary,Film/TV,Pop,Rock. Individual part. 2 pages. Natalie Spehar #810103. Published by Natalie Spehar (A0.1212890). An exciting, intermediate version of this cover- in the popular style of Wednesday Addams.About the Arranger:Natalie Spehar is a genre-bending acoustic and electric cellist that has shared the stage with major artists including Disturbed, Cage the Elephant, 2 Cellos, Josh Groban, Michael Bublé, Sarah Brightman, Dessa, Amy Grant and Michael W. Smith, Johnny Mathis, Michael Bolton, Il Volo, Charly Bliss, Japanese Breakfast, Amanda Palmer and the Trans Siberian Orchestra. She is also an active session musician, working most recently with RCA Records and Red Parade Music and composing and recording material for numerous film and theatre productions. Natalie's ALT-C Alternative Cello Workshop Series is available online worldwide. For more info, please visit www.nataliespehar.com.
$8.99
8.25 €
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Alto seul
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The Rolling Stones
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Natalie Spehar
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Paint It, Black
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Natalie Spehar
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SheetMusicPlus
Paint It, Black
Violoncelle (partie séparée)
Cello Solo - Level 3 - Digital Download SKU: A0.1212883 By The Rolling Stones. By K…
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Cello Solo - Level 3 - Digital Download SKU: A0.1212883 By The Rolling Stones. By Keith Richards and Mick Jagger. Arranged by Natalie Spehar. Contemporary,Film/TV,Pop,Rock. Individual part. 2 pages. Natalie Spehar #810096. Published by Natalie Spehar (A0.1212883). An exciting, intermediate version of this cover- in the popular style of Wednesday Addams.About the Arranger:Natalie Spehar is a genre-bending acoustic and electric cellist that has shared the stage with major artists including Disturbed, Cage the Elephant, 2 Cellos, Josh Groban, Michael Bublé, Sarah Brightman, Dessa, Amy Grant and Michael W. Smith, Johnny Mathis, Michael Bolton, Il Volo, Charly Bliss, Japanese Breakfast, Amanda Palmer and the Trans Siberian Orchestra. She is also an active session musician, working most recently with RCA Records and Red Parade Music and composing and recording material for numerous film and theatre productions. Natalie's ALT-C Alternative Cello Workshop Series is available online worldwide. For more info, please visit www.nataliespehar.com.
$8.99
8.25 €
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Violoncelle (partie séparée)
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The Rolling Stones
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Natalie Spehar
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Paint It, Black
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Natalie Spehar
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SheetMusicPlus
Paint It, Black
Violon
Violin Solo - Level 3 - Digital Download SKU: A0.1212893 By The Rolling Stones. By …
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Violin Solo - Level 3 - Digital Download SKU: A0.1212893 By The Rolling Stones. By Keith Richards and Mick Jagger. Arranged by Natalie Spehar. Contemporary,Film/TV,Pop,Rock. 2 pages. Natalie Spehar #810106. Published by Natalie Spehar (A0.1212893). An exciting, intermediate version of this cover- in the popular style of Wednesday Addams.About the Arranger:Natalie Spehar is a genre-bending acoustic and electric cellist that has shared the stage with major artists including Disturbed, Cage the Elephant, 2 Cellos, Josh Groban, Michael Bublé, Sarah Brightman, Dessa, Amy Grant and Michael W. Smith, Johnny Mathis, Michael Bolton, Il Volo, Charly Bliss, Japanese Breakfast, Amanda Palmer and the Trans Siberian Orchestra. She is also an active session musician, working most recently with RCA Records and Red Parade Music and composing and recording material for numerous film and theatre productions. Natalie's ALT-C Alternative Cello Workshop Series is available online worldwide. For more info, please visit www.nataliespehar.com.
$8.99
8.25 €
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Violon
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The Rolling Stones
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Natalie Spehar
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Paint It, Black
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Natalie Spehar
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SheetMusicPlus
Black Math by The White Stripes - Guitar Recorded Versions (with TAB), Guitar TAB Transcription/Guitar Recorded Versions (with TAB);Guitar TAB Transcription
Guitare notes et tablatures
Performed by: The White Stripes: Black Math Digital Sheetmusic - instantly downloadable sh…
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Performed by: The White Stripes: Black Math Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Guitar Tab;Guitar/Vocal, instruments: Voice 1;Guitar 1;Guitar 2;Guitar 3; 5 pages -- Blues Rock~~Indie Rock~~Garage Rock Revival
$5.50
5.05 €
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Guitare notes et tablatures
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The White Stripes
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Guitar Recorded Versions (with TAB), Guitar TAB Transcription/Guitar Recorded Versions (with TAB);Guitar TAB Transcription
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Musicnotes
Paint It, Black
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.1432973 By The Rolling Stones. By K…
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Piano Solo - Level 1 - Digital Download SKU: A0.1432973 By The Rolling Stones. By Keith Richards and Mick Jagger. Arranged by Jane Stavrinoudis. 20th Century,Contemporary,Pop,Rock. Score. 3 pages. Jane Stavrinoudis #1013402. Published by Jane Stavrinoudis (A0.1432973). A piano solo of The Rolling Stones’ famous song Paint It Black from the band’s 1966 studio album Aftermath. Arranged by Jane Stavrinoudis in E minor and in four four time for the lower elementary (Grade 0) piano players. Download includes a black and white pdf and a colour coded pdf for reluctant music readers.Listen here https://youtu.be/Efh-cuyYYPw
$4.99
4.58 €
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Piano seul
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The Rolling Stones
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Jane Stavrinoudis
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Paint It, Black
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Jane Stavrinoudis
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SheetMusicPlus
The Calculus of Division
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1102466 Composed by Brett L.…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1102466 Composed by Brett L. Wery. Chamber,Contemporary. Score. 12 pages. Sonata Grendel Publishing #705876. Published by Sonata Grendel Publishing (A0.1102466). The Calculus of Division is a science-fiction song set in a universe where myriapods—a subphylum of arthropods containing millipedes and centipedes—are sentient and sapient. The songs centers on a plot, as told by the more advanced centipedes, to dominate the millipedes by sowing doubt in math and thereby divide them into factions, brown on black and black on brown. While distracted, the carnivorous centipedes will eat the detritivorous—eating organic waste such as rotting wood—millipedes’ young. The song is the first in a trilogy of songs set in this unforgiving universe. Duration–5:30.
$9.91
9.09 €
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Piano, Voix
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Brett L
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The Calculus of Division
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Sonata Grendel Publishing
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SheetMusicPlus
Interlude and The Cleansing
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1111262 Composed by Brett L.…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1111262 Composed by Brett L. Wery. Chamber,Classical,Contemporary. Score. 12 pages. Sonata Grendel Publishing #713542. Published by Sonata Grendel Publishing (A0.1111262). Interlude and the Cleansing is a science-fiction song set in a universe where myriapods—a subphylum of arthropods containing millipedes and centipedes—are sentient and sapient. The song is the second song in a cycle beginning with The Calculus of Division, which centers on a plot by the more advanced centipedes to dominate the millipedes by sowing doubt in math and thereby divide them into factions. While distracted, the carnivorous centipedes will eat the detritivorous—eating organic waste such as rotting wood—millipedes’ young. Interlude and the Cleansing is a story of the Black on Brown faction that is described in the first song as “sustained by fear and dread.†In the song, one of the Black on Browns has been found murdered. The chemical traces of his last thoughts and words are cleansed from his body. The song is the second in a trilogy of songs set in this unforgiving universe.
$10.75
9.86 €
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Piano, Voix
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Brett L
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Interlude and The Cleansing
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Sonata Grendel Publishing
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SheetMusicPlus
The Answer
Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1120812 Comp…
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Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download SKU: A0.1120812 Composed by Brett L. Wery. Classical,Contemporary. 12 pages. Sonata Grendel Publishing #722023. Published by Sonata Grendel Publishing (A0.1120812). The Answer is a science-fiction song set in a universe where myriapods—a subphylum of arthropods containing millipedes and centipedes—are sentient and sapient. The song is the third song in The Pedesterra Cycle including The Calculus of Division and Interlude and the Cleansing. The songs center on a plot by the more advanced centipedes to dominate the millipedes in order to sow doubt in math and thereby divide them into factions. While the millipedes distracted, the carnivorous centipedes will eat the detritivorous—eating organic waste such as rotting wood—millipedes’ young. The Answer is a soliloquy by the charlatan leader of the Brown on Black faction described in the first song as “sustained by fear and vindication.†In the song, the sham politician betrays their allegiance to the centipedes who have aided their rise to power. The song is the third in a trilogy of songs set in this unforgiving universe of Pedesterra.
$7.60
6.97 €
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Brett L
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The Answer
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Sonata Grendel Publishing
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SheetMusicPlus
Sigh
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.888995 Composed by Quinn M…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.888995 Composed by Quinn McMath, Levale Walker. 20th Century,Contemporary. Octavo. 12 pages. Quinn McMath #6130757. Published by Quinn McMath (A0.888995). 6.75 x 10.5 inchesSigh is a piece for choir, with piano accompaniment and a baritone voice solo. This piece would be a great concert piece for high school and collegiate level ensembles.Sigh was born out of the pain and turmoil of witnessing and experiencing the daily racism and systemic discrimination of minority groups in this world and in the United States. Sometimes it is difficult to express the intense trauma that comes with being a minority, and Sigh follows the journey of an individual holding in their feelings to a point where those feelings can no longer be contained. During the birth of this piece, stories of black deaths were nearly unavoidable and took a heavy toll on the black community. Sigh is a representation of the release that the community so desperately needs. It is important to note that this piece is driven by the hardships of racial minorities, thus it is preferred that the soloist be a person of color to better reflect the purpose of this piece.
$3.50
3.21 €
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Chorale SATB
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Quinn McMath, Levale Walker
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Sigh
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Quinn McMath
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SheetMusicPlus
Black Math
Guitare notes et tablatures
By The White Stripes. Pop; Rock. Guitar TAB. 5 pages. Published by Hal Leonard - Digital S…
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By The White Stripes. Pop; Rock. Guitar TAB. 5 pages. Published by Hal Leonard - Digital Sheet Music (HX.243881). - guitar TAB - Pop; Rock - Hal Leonard - Digital Sheet Music
$4.99
4.58 €
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Guitare notes et tablatures
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The White Stripes
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Rock
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Black Math
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
The White Stripes: Black Math - guitar (tablature)
Guitare notes et tablatures
Instantly printable sheet music by The White Stripes for guitar (tablature) of MEDIUM skil…
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Instantly printable sheet music by The White Stripes for guitar (tablature) of MEDIUM skill level. / pop,rock
$6.97
6.4 €
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Guitare notes et tablatures
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The White Stripes
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Virtualsheetmusic
Wonderful Life
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 2 - Digital Download SKU: A0.1205975 By Black…
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String Quartet String Quartet - Level 2 - Digital Download SKU: A0.1205975 By Black. By Colin Vearncombe. Arranged by Peter Stöve. Pop,Wedding. Score and parts. 16 pages. Peter Stove #804166. Published by Peter Stove (A0.1205975). String quartet arrangement of the 1987 hit song by Black. This version, however, is loosely following the 1999 cover by Dutch singer Mathilde Santing. It is in a different key (B minor instead of the original E minor), which places the solo spots in good sounding registers. Easy to play, ideal for playing at weddings/parties and other social events. Enjoy!
$12.99
11.92 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Black
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Peter Stöve
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Wonderful Life
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Peter Stove
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SheetMusicPlus
The Swan Lake (Swan Theme) - Tchaikovski (For Piano Solo / Intermediate)
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.963132 Composed by P. Tchaikovski. …
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Piano Solo - Level 2 - Digital Download SKU: A0.963132 Composed by P. Tchaikovski. Arranged by Matheus Viana. Romantic Period,Standards,Wedding. Score. 2 pages. Matheus Viana #6424707. Published by Matheus Viana (A0.963132). This is an arrangement for piano solo of the main theme of The Swan Lake, composed by P. Tchaikovsky. This arrangement was made to be simple and have some interesting lines on the left hand, this way the most intermediate players will be satisfied of play this piece. The Swan Lake, Ballet music, Piano arrangement, Tchaikovsky, Classical composition, Sheet music, Graceful melody, Enchanting tune, Romantic atmosphere, Odette and Odile, Ballet piano, Majestic swans, Keyboard rendition, Musical masterpiece, Swan Lake piano cover, Chords and arpeggios, Elegant dance, Balletic piano, Timeless classic, Instrumental version, Balletic grace, Keyboard performance, Ballet solo, Tchaikovsky's masterpiece, Dance of the Swans, Swan theme, Melodic beauty, White swan, Black swan, Balletic expression, Poetic piano, Balletic storytelling, Musical interpretation, Odette's theme, Dramatic piano, Balletic emotions, Lake of dreams, Romantic piano, Balletic artistry, Musical enchantment, Balletic magic, Balletic passion, Swan Lake suite, Keyboard virtuosity, Balletic elegance, Balletic romance, Grand piano rendition, Tchaikovsky's brilliance, Balletic precision, Balletic movement, Balletic grandeur, Dance of love, Piano ballet, Swan Lake fantasy, Balletic inspiration, Musical storytelling, Balletic fantasy, Piano virtuoso, Balletic gracefulness, Emotional piano, Balletic drama, Enchanted lake, Keyboard expressiveness, Balletic splendor, Musical poetry, Balletic intensity, Swan Lake waltz, Balletic serenity, Piano dramatics, Balletic finesse, Swan Lake overture, Keyboard dynamics, Balletic expressionism, Poignant piano, Balletic beauty, Swan Lake emotions, Balletic serenade, Piano brilliance, Balletic allure, Swan Lake elegance.
$7.00
6.42 €
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Piano seul
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P
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Matheus Viana
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The Swan Lake
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Matheus Viana
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SheetMusicPlus
The Swan Lake (Swan Theme) - Tchaikovski (For Piano Solo / Beginner)
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.963131 Composed by P. Tchaikovski. …
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Piano Solo - Level 1 - Digital Download SKU: A0.963131 Composed by P. Tchaikovski. Arranged by Matheus Viana. Multicultural,Romantic Period,Standards,Wedding,World. Score. 2 pages. Matheus Viana #6424703. Published by Matheus Viana (A0.963131). Certainly! Here's an expanded list of keywords and phrases related to Swan Lake and piano in a larger text format:Swan Lake, Ballet music, Piano arrangement, Tchaikovsky, Classical composition, Sheet music, Graceful melody, Enchanting tune, Romantic atmosphere, Odette and Odile, Ballet piano, Majestic swans, Keyboard rendition, Musical masterpiece, Swan Lake piano cover, Chords and arpeggios, Elegant dance, Balletic piano, Timeless classic, Instrumental version, Balletic grace, Keyboard performance, Ballet solo, Tchaikovsky's masterpiece, Dance of the Swans, Swan theme, Melodic beauty, White swan, Black swan, Balletic expression, Poetic piano, Balletic storytelling, Musical interpretation, Odette's theme, Dramatic piano, Balletic emotions, Lake of dreams, Romantic piano, Balletic artistry, Musical enchantment, Balletic magic, Balletic passion, Swan Lake suite, Keyboard virtuosity, Balletic elegance, Balletic romance, Grand piano rendition, Tchaikovsky's brilliance, Balletic precision, Balletic movement, Balletic grandeur, Dance of love, Piano ballet, Swan Lake fantasy, Balletic inspiration, Musical storytelling, Balletic fantasy, Piano virtuoso, Balletic gracefulness, Emotional piano, Balletic drama, Enchanted lake, Keyboard expressiveness, Balletic splendor, Musical poetry, Balletic intensity, Swan Lake waltz, Balletic serenity, Piano dramatics, Balletic finesse, Swan Lake overture, Keyboard dynamics, Balletic expressionism, Poignant piano, Balletic beauty, Swan Lake emotions, Balletic serenade, Piano brilliance, Balletic allure, Swan Lake elegance.
$7.00
6.42 €
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Piano seul
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P
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Matheus Viana
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The Swan Lake
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Matheus Viana
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SheetMusicPlus
Six Times Six is Thirty-Six, And Six is Forty-Two
Piano, Voix
Piano and voice - Digital Download SKU: LV.8697 Composed by William White. Portrait…
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Piano and voice - Digital Download SKU: LV.8697 Composed by William White. Portraits, Cartoons, Blackboards, Monkeys, Children, Girls, School, Education, Mathematics. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.8697). Six Times Six is Thirty-Six, And Six is Forty-Two. Lyric by Bert Hanlon. Music by Wm. White. Published 1917 by M. Witmark & Sons in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, Cartoons, Blackboards, Monkeys, Children, Girls, School, Education, Mathematics. First line reads Ever since I've been so very high I've tried to multiply.. 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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Piano, Voix
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William White
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Six Times Six is Thirty-Six, And Six is Forty-Two
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Poisoning Pigeons in the Park
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.1440114 By Tom Lehrer. By Tom Leh…
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Concert Band - Level 2 - Digital Download SKU: A0.1440114 By Tom Lehrer. By Tom Lehrer. Arranged by John Ivor Holland. 20th Century,Broadway,Musical/Show,Singer/Songwriter. 37 pages. John Ivor Holland #1020064. Published by John Ivor Holland (A0.1440114). Tom Lehrer is an American musician, singer-songwriter, satirist, and mathematician. He recorded pithy and humorous songs that became popular in the 1950s and 60s, often parodying popular musical forms, though they usually had original melodies (an exception is The Elements, in which he set the names of the chemical elements to the tune of the Major-General's Song from Gilbert and Sullivan's 'The Pirates of Penzance'). Lehrer's early performances dealt with non-topical subjects and black humour in songs such as the 'vernal' waltz, Poisoning Pigeons in the Park, which was recorded for the album 'An Evening Wasted with Tom Lehrer' in March 1959. The lyrics refer to killing pigeons with cyanide-coated peanuts and strychnine-treated corn. The latter method was used by the United States Fish and Wildlife Service to control pigeon populations in Boston public areas during the 1950s. Available for concert band for the first time, this lovely melody deserves to be heard out in the open air to be enjoyed by those passing by, maybe unaware of the sinister nature of the song!
$49.99
45.87 €
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Orchestre d'harmonie
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Tom Lehrer
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John Ivor Holland
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Poisoning Pigeons in the Park
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John Ivor Holland
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SheetMusicPlus
Gravitational Ripples
Percussion Quintet Bells,Marimba,Optional Percussion,Snare Drum,Suspended Cymbal,Vibraphon…
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Percussion Quintet Bells,Marimba,Optional Percussion,Snare Drum,Suspended Cymbal,Vibraphone - Level 3 - Digital Download SKU: A0.1350204 Composed by Brian L. Monroe. 21st Century,Chamber,Instructional. 11 pages. BLM Music Publications (https://brianmonroemusic.com) #934989. Published by BLM Music Publications (https://brianmonroemusic.com) (A0.1350204). Gravitational Ripples are 'waves' in space-time caused by some of the most violent and energetic processes in the Universe.  Albert Einstein predicted the existence of gravitational waves in 1916 in his general theory of relativity. Einstein's mathematics showed that massive accelerating objects (things like neutron stars or black holes orbiting each other) would disrupt space-time in such a way that 'waves' of undulating space-time would propagate in all directions away from the source. These cosmic ripples would travel at the speed of light, carrying with them information about their origins, as well as clues to the nature of gravity itself. This quintet for percussion ensemble works to convey the power & energetic nature of these ripples in space-time.  Grade 3Instrumentation: Percussion 1: Bells, Woodblock, Crash Cymbal Percussion 2: Vibes, 3 Tom Toms, Sizzle Cymbal Percussion 3:  Marimba 1, Snare Drum Percussion 4:  Marimba 2, Gong (bow & mallet) Percussion 5: Timpani, Snare Drum, Triangle.
$15.00
13.76 €
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Brian L
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Gravitational Ripples
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BLM Music Publications
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SheetMusicPlus
Tenderly
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1345047 By Johnny Mathis. By Jack L…
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Piano Solo - Level 3 - Digital Download SKU: A0.1345047 By Johnny Mathis. By Jack Lawrence and Walter Gross. Arranged by Phyllis Love. Jazz,Standards. Score. 2 pages. Phyllis Love #929999. Published by Phyllis Love (A0.1345047). Tenderly for intermediate pianoA well-known 1946 standard, this arrangement, although easy to play, is interesting, with an echo and call motif. It oozes with feeling.Accessible enough for any intermediate performer, yet incredibly rewarding for even the most accomplished pianist. Phyllis Love's instrumental arrangements for jazz piano remain true to the original melodies, with inventive harmonies and dynamic rhythmic patterns perfect for solo players! Each is a tasty addition to your show set, whether it's a classic show tune or a Standard from the Great American Songbook.Check out these other Phyllis Love arrangements for students of jazz piano:The Breeze and IThe Last Time I Saw ParisYesterdaysYou and the Night and the MusicWe'll Be Together AgainA Nightingale Sang In Berkeley SquareFalling In Love With LoveFor All We KnowI Thought About YouI'll Remember AprilI'm Old FashionedIt Might As Well Be SpringIt's Only A Paper MoonLove Walked InMona LisaOn the Atchison, Topeka and the Santa FeOnce In A WhileSummertimeSurrey With The Fringe On TopThat Old Black MagicPhyllis Love is a professional jazz pianist in the New York City area who's appeared at storied venues including Windows on the World, Gramercy Park Hotel, and Mama Leone's. She's performed with the Bill Lombardo Orchestra, scored music for film (Brighty of the Grand Canyon co-composer), and written jingles for Harvey’s Bristol Crème, Estee Lauder, Seiko watches and many others.
$4.99
4.58 €
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Piano seul
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Johnny Mathis
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Phyllis Love
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Tenderly
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Phyllis Love
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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
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