English version
Parcourir Free-scores.com
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Bright Music
Sheetmusicplus
Non classifié
597
Piano & claviers
Piano seul
377
Piano, Voix
342
Orgue
97
Piano Facile
88
Piano, Voix et Guitare
78
Instruments en Do
14
Piano (partie séparée)
13
1 Piano, 4 mains
11
Piano Trio: piano, violon, violoncelle
8
2 Pianos, 4 mains
7
Accompagnement Piano
7
Piano Quatuor: piano, violon, alto, violoncelle
5
Orgue, Trompette (duo)
4
Piano grosses notes
4
Orgue, Piano (duo)
3
Piano Quintette: piano, 2 violons, alto, violoncelle
2
2 Pianos, 8 mains
2
+ 12 instrumentations
Retracter
Guitares
Guitare notes et tablatures
24
Guitare (partie séparée)
22
Guitare
17
Paroles et Accords
15
Ligne De Mélodie, (Paroles) et Accords
10
Ukulele
8
2 Guitares (duo)
6
Basse electrique
6
Piano, Guitare (duo)
3
Dulcimer
2
3 Guitares (trio)
2
Mandoline
1
Banjo
1
4 Guitares (Quatuor)
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
335
Chorale 3 parties
106
Chorale 2 parties
88
Chorale Unison
42
Chorale TTBB
21
Chorale SSAA
19
Voix duo, Piano
18
Chorale
7
Voix Soprano, Piano
5
Voix Mezzo-Soprano, Piano
2
Voix haute
2
Voix Tenor, Piano
2
Voix moyenne, Piano
2
Chorale SSAB a cappella
1
Voix Alto, Piano
1
Voix basse
1
Voix Baryton, Piano
1
Voix duo
1
Chorale SSAATB
1
Chorale SSAATTBB
1
Voix seule
1
+ 16 instrumentations
Retracter
Vents
Saxophone (partie séparée)
70
Flûte traversière et Piano
47
Clarinette et Piano
33
Hautbois, Piano (duo)
31
Quatuor de Saxophones: 4 saxophones
30
Saxophone Alto et Piano
25
2 Saxophones (duo)
24
Saxophone Soprano et Piano
23
2 Flûtes traversières (duo)
22
Quatuor de Clarinettes: 4 clarinettes
20
Saxophone Tenor et Piano
20
Flûte, Hautbois, Clarinette, Basson
19
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
17
2 Clarinettes (duo)
15
3 Saxophones (trio)
15
Flûte traversière
15
Quatuor de Flûtes : 4 flûtes
15
Clarinette
13
Clarinette (partie séparée)
13
Flûte, Clarinette (duo)
12
Trio de Flûtes: 3 flûtes
11
Quintette de Saxophone: 5 saxophones
10
Saxophone Baryton, Piano
9
2 Hautbois (duo)
9
Ensemble de Clarinettes
9
Ensemble de Flûtes
8
Saxophone Alto
8
Hautbois
8
Hautbois, Clarinette (duo)
8
Saxophone Tenor
7
Hautbois, Basson (duo)
6
Flute (partie séparée)
6
Hautbois (partie séparée)
6
Flûte, Clarinette, Piano (trio)
5
Flûte, Hautbois, Piano (trio)
5
3 Clarinettes (trio)
5
Clarinette Basse, Piano
5
Flûte, Violon et Violoncelle
5
Cor anglais, Piano
4
Quintette de Clarinettes: 5 clarinettes
4
Clarinette, Violon (duo)
3
Hautbois, Violoncelle
3
Saxophone, Clarinette (duo)
3
Hautbois, Flûte
3
Flûte à bec Soprano, Piano
3
Flûte, Clarinette et Basson
3
Flûte à Bec
3
Quatuor de Flûtes à bec
3
2 Flûtes traversières, Piano
3
Clarinette, Violoncelle, Piano (trio)
3
Flûte, Violoncelle, Piano (trio)
3
Flûte, Violon
3
Ensemble de saxophones
2
Clarinette, Violoncelle (duo)
2
Hautbois, Violoncelle et Piano
2
Flûte, Hautbois, Clarinette (trio)
2
Saxophone Soprano
2
Saxophone Baryton
2
Flûte, trombone et piano
2
Flûte et Guitare
2
Ensemble à vent
2
Flûte, Violon, Piano
2
Piccolo
2
Flûte, Violoncelle
2
Clarinette, Trompette (duo)
1
Quintette de Flûte : 5 flûtes
1
Flûte, Saxophone (duo)
1
Clarinette, Guitare (duo)
1
Clarinette et Alto
1
Clarinette, Trombone (duo)
1
Flûte, Alto (duo)
1
2 Clarinettes, Piano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Clarinette, trompette et piano
1
Flûte, Trompette (duo)
1
3 Flûtes à bec (trio)
1
Flûte, Hautbois, Basson
1
Instruments en Mib
1
Clarinette, Basson (duo)
1
Flûte, Alto et Piano
1
Flûte, Basson et Piano
1
Flûte, Trombone (duo)
1
Flûte, Violon, Violoncelle et Piano
1
+ 78 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
62
Trombone (partie séparée)
58
Trompette (partie séparée)
47
Trompette, Piano
45
Trombone et Piano
23
Quatuor de Cuivres : 2 trompettes, trombone, tuba
20
Cor et Piano
15
Tuba et Piano
15
Quatuor de Cuivres: 2 trompettes, Cor, trombone
14
Trompette
13
2 Trompettes (duo)
12
Cor (partie séparée)
12
Tuba
11
2 Cors (duo)
9
Trompette, Trombone (duo)
9
2 Trombones (duo)
9
Cor
7
Trombone
7
Tuba (partie séparée)
7
Trompette, Violoncelle (duo)
5
Trompette, Basson (duo)
5
Quatuor de Cuivres
5
Cor anglais, Piano
4
Trompette, Cor (duo)
3
Euphonium, Piano (duo)
3
2 Tubas (duo)
3
3 Trompettes (trio)
3
Quatuor de cuivres: 4 trompettes
3
Quatuor de cuivres: 4 trombones
3
Ensemble de Trompettes
2
Trompette, Saxophone (duo)
2
Ensemble de Trombones
2
Cor, Violoncelle (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
3 Trombones (trio)
1
Trio de Cuivres
1
Trompette, Violoncelle et Piano
1
+ 33 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
186
Violon, Violoncelle (duo)
123
Trio à Cordes: 2 violons, violoncelle
77
Violoncelle
50
Violon et Piano
49
Violon
36
Violoncelle, Piano
31
Trio à Cordes: violon, alto, violoncelle
28
2 Violoncelles (duo)
26
Violon, Alto (duo)
26
Alto, Piano
26
Violon (partie séparée)
23
Contrebasse (partie séparée)
21
Harpe
18
2 Violons (duo)
17
Violon, Basson (duo)
14
Alto seul
13
Alto (partie séparée)
11
Quintette à cordes: 2 violons, alto, violoncelle, basse
10
2 Altos (duo)
9
Alto, Violoncelle (duo)
8
Violoncelle (partie séparée)
6
Contrebasse, Piano (duo)
5
2 Harpes (duo)
5
Contre Basse
5
4 Violoncelles
5
Piano Trio: Violon, Alto, Piano
4
Trio à Cordes: 3 violoncelles
3
Quatuor à cordes: 4 violons
3
Alto et Basson
2
Trio à cordes: 3 violins
2
Harpe, Voix
2
2 Contrebasses (duo)
2
Ensemble de Violons
1
Violon, Clarinette, Piano (trio)
1
Harpe et Piano
1
Violon, Orgue
1
2 Violons, Piano
1
+ 33 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
552
Orchestre
65
Orchestre à Cordes
55
Ensemble Jazz
50
Ensemble de cuivres
38
Cloches
27
Fanfare
27
Batterie (partie séparée)
11
Percussion (partie séparée)
11
Jazz combo
9
Orchestre de chambre
7
Xylophone, Piano
5
Batterie
5
Ensemble de Percussions
3
Timbales (partie séparée)
2
2 Marimbas
1
Xylophone
1
Percussion
1
Piano et Orchestre
1
+ 14 instrumentations
Retracter
Autres
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions Gratuites
305
Partitions Numériques
5 347
Librairie Musicale
0
Matériel de Musique
10
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Bright Music
SheetMusicPlus
Partitions à imprimer
5 347 partitions trouvées
<
1
26
51
....
5326
How Brightly Shines the MorningStar/O Morning Star, How Fair and Bright (Downloadable)
Orgue
Organ - Moderately Easy - Digital Download SKU: MQ.10-206-3E Composed by Wilbur Hel…
(+)
Organ - Moderately Easy - Digital Download SKU: MQ.10-206-3E Composed by Wilbur Held. Epiphany, Lessons and Carols. 1 pages. MorningStar Music Publishers - Digital Sheet Music #10-206-3E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.10-206-3E). Practical, functional settings in a variety of styles. Mostly meditative in character.Includes:As with Gladness Men of OldDIXBrightest and Best of the Stars of the MorningMORNING STARO Morning Star, How Fair and BrightWIE SCHÖN LEUCHTETO Chief of Cities, BethlehemTRUTH FROM ABOVEWatchman, Tell Us of the NightWATCHMANWhen Christ's Appearing Was Made KnownPUER NOBIS
$5.00
4.61 €
#
Orgue
#
Wilbur Held
#
How Brightly Shines the MorningStar/O Morning Star, How Fair and Bright
#
MorningStar Music Publishers - Digital Sheet Music
#
SheetMusicPlus
The Joy of Music - Volume 2
Orgue
Organ SKU: HL.8738406 Organ. Arranged by Bish Diane. Organ. Fred Bock Public…
(+)
Organ SKU: HL.8738406 Organ. Arranged by Bish Diane. Organ. Fred Bock Publications. General Worship, Sacred. 40 pages. Fred Bock Music Company #BG0938. Published by Fred Bock Music Company (HL.8738406). ISBN 9780634003592. UPC: 073999384062. 9.0x12.0x0.113 inches.Moderately easy to play, with Diane's distinctive stylings, these selections are suitable for church or home use. Titles include: All Things Bright and Beautiful * Hark! Ten Thousand Harps and Voice * I Will Sing of My Redeemer * A New Name in Glory * On Jordan's Stormy Banks * Savior Like a Shepherd Lead Us * When We All Get to Heaven.
Song List: On Jordan's Stormy Banks All Things Bright and Beautiful Hark! Ten Thousand Harps and Voices (L. Mason) I Will Sing of My Redeemer (J. Mcgranahan) When We All Get to Heaven (E. Wilson) A New Name in Glory (C. Miles) Savior, Like A Shepherd Lead Us (W. Bradbury)
Song List
: On Jordan's Stormy Banks All Things Bright and Beautiful Hark! Ten Thousand Harps and Voices (L. Mason) I Will Sing of My Redeemer (J. Mcgranahan) When We All Get to Heaven (E. Wilson) A New Name in Glory (C. Miles) Savior, Like A Shepherd Lead Us (W. Bradbury)
$14.99
13.82 €
#
Orgue
#
Bish Diane
#
The Joy of Music - Volume 2
#
Fred Bock Music Company
#
SheetMusicPlus
How Brightly Shines the Morning Star/O Morning Star, How Fair and Bright (Downloadable)
Organ, optional timpani - Medium - Digital Download SKU: MQ.10-209-2E Composed by R…
(+)
Organ, optional timpani - Medium - Digital Download SKU: MQ.10-209-2E Composed by Robert A. Hobby. Epiphany, Lessons and Carols. 7 pages. MorningStar Music Publishers - Digital Sheet Music #10-209-2E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.10-209-2E). Includes:An energetic setting ofHow Brightly Shines the Morning StarWIE SCHON LEUCHTETA march-like setting with opt. timpani ofThy Strong WordEBENEZERA reflective setting ofI Love to Tell the StoryHANKEYAlthough not specifically Epiphany hymns, the latter two are included because they are used with texts frequently suggested during the Epiphany season.
$5.00
4.61 €
#
Robert A
#
How Brightly Shines the Morning Star/O Morning Star, How Fair and Bright
#
MorningStar Music Publishers - Digital Sheet Music
#
SheetMusicPlus
How Brightly Shines the Morning Star/O Morning Star, How Fair and Bright (Downloadable)
Orgue
Organ - Moderately Easy - Digital Download SKU: MQ.10-176-3E Composed by Raymond H …
(+)
Organ - Moderately Easy - Digital Download SKU: MQ.10-176-3E Composed by Raymond H Haan. Advent, Christmas, Epiphany, Lessons and Carols. 3 pages. MorningStar Music Publishers - Digital Sheet Music #10-176-3E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.10-176-3E). This collection offers five pieces in varied moods and colors. They display the full richness and dynamic range of the organ as they reflect Advent, Christmas, and Epiphany texts. Suitable for recitals as well as for services, these pieces of moderate difficulty expressively convey the messages of the texts and also draw out the emotional qualities of the tunes on which they are based.
$5.00
4.61 €
#
Orgue
#
Raymond H Haan
#
How Brightly Shines the Morning Star/O Morning Star, How Fair and Bright
#
MorningStar Music Publishers - Digital Sheet Music
#
SheetMusicPlus
Brightest and Best of the Stars of the Morning (Downloadable)
Orgue
Organ - Moderately Easy - Digital Download SKU: MQ.10-206-2E Composed by Wilbur Hel…
(+)
Organ - Moderately Easy - Digital Download SKU: MQ.10-206-2E Composed by Wilbur Held. Epiphany, Lessons and Carols. 3 pages. MorningStar Music Publishers - Digital Sheet Music #10-206-2E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.10-206-2E). Practical, functional settings in a variety of styles. Mostly meditative in character.Includes:As with Gladness Men of OldDIXBrightest and Best of the Stars of the MorningMORNING STARO Morning Star, How Fair and BrightWIE SCHÖN LEUCHTETO Chief of Cities, BethlehemTRUTH FROM ABOVEWatchman, Tell Us of the NightWATCHMANWhen Christ's Appearing Was Made KnownPUER NOBIS
$5.00
4.61 €
#
Orgue
#
Wilbur Held
#
Brightest and Best of the Stars of the Morning
#
MorningStar Music Publishers - Digital Sheet Music
#
SheetMusicPlus
Brighten The Corner Where You Are
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet - Grade 3 - Digital Download SKU: DX.145533 Composed by Ina D. Ogden.…
(+)
Brass Quintet - Grade 3 - Digital Download SKU: DX.145533 Composed by Ina D. Ogden. Arranged by Dana F. Everson. Traditional. Key of Eb, Ab. Sacred Instrumental Music. Score and Parts. 12 pages. David E. Smith - Digital Sheet Music #145533. Published by David E. Smith - Digital Sheet Music (DX.145533). A standard brass quintet with optional trumpet for horn. As one might expect the piece is cheerful from beginning to end. After a bright intro, the trumpet carry the tune until handed over to the middle voices with flourishes in the trumpets. After a transition that leads upward to an exciting climax. The piece abruptly shits to a quiet and expressive section lead by the trombone on the theme where it all builds to another zenith and once again abruptly goes quiet. A modulation and meter shift and the piece becomes countrapuntally gentle.. A meter shift back to the beginning and an exuberant building to a joyous conclusion.
$12.00
11.06 €
#
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
#
Ina D
#
Dana F
#
Brighten The Corner Where You Are
#
David E. Smith - Digital Sheet Music
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.12 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
O splendor of God's glory bright (That Easter day with joy was bright)
Chorale SATB
SATB choir and organ or orchestra - Digital Download Composed by Mack Wilberg (1955-)…
(+)
SATB choir and organ or orchestra - Digital Download Composed by Mack Wilberg (1955-). Sheet music. Octavo. 11 pages. Oxford University Press Digital #9780193531888. Published by Oxford University Press Digital
ISBN 9780193531888.<br> <br> For SATB and organ or orchestra. This bright and exultant arrangement of Michael Praetorius's melody 'Puer nobis nascitur' is presented with two text options: 'O splendor of God's glory bright' for general worship and 'That Easter day with joy was bright' for use at Easter.ISBN 9780193531888.<br> <br> For SATB and organ or orchestra. This bright and exultant arrangement of Michael Praetorius's melody 'Puer nobis nascitur' is presented with two text options: 'O splendor of God's glory bright' for general worship and 'That Easter day with joy was bright' for use at Easter.
$3.65
3.36 €
#
Chorale SATB
#
Mack Wilberg (1955-)
#
O splendor of God's glory bright
#
Oxford University Press Digital
#
SheetMusicPlus
O Morning Star, How Fair and Bright (Downloadable Choral Score)
Chorale 3 parties
SAB choir, congregation, organ, flute or violin, oboe or clarinet - Medium to Moderately D…
(+)
SAB choir, congregation, organ, flute or violin, oboe or clarinet - Medium to Moderately Difficult - Digital Download SKU: MQ.60-2000A-E Composed by Robert A. Hobby. Epiphany, Lent, Transfiguration. Instrument parts. 7 pages. MorningStar Music Publishers - Digital Sheet Music #60-2000A-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.60-2000A-E). Setting of Queen of Chorales (WIE SCHÖN LEUCHTET) explores variety of musical treatments to achieve optimum text painting in stanzas assigned to choir. Challenging. Instrumental parts include Oboe and B-flat Clarinet as substitute for Oboe. Violin may substitute for Flute. Organist plays from Full Score.
$2.25
2.07 €
#
Chorale 3 parties
#
Robert A
#
O Morning Star, How Fair and Bright
#
MorningStar Music Publishers - Digital Sheet Music
#
SheetMusicPlus
Hornpipe (from Water Music) / George Frideric Handel
2 Flûtes traversières (duo)
Flute Duet Flute - Level 3 - Digital Download SKU: A0.1491279 Composed by George Fr…
(+)
Flute Duet Flute - Level 3 - Digital Download SKU: A0.1491279 Composed by George Frideric Handel. Arranged by Kan Saito / Japan Duo Notes. Baroque,Classical,Early Music,Film/TV,Opera. Score. 3 pages. Japan Duo Notes #1068017. Published by Japan Duo Notes (A0.1491279). Title: Hornpipe (from Water Music) by George Frideric Handel – Flute Duet ArrangementDescription:Bring the regal and lively spirit of George Frideric Handel’s Hornpipe from Water Music to your flute performance with this delightful duet arrangement. Handel’s Water Music is one of his most famous and enduring works, and the Hornpipe movement is especially well-known for its rhythmic vitality and energetic melody. This arrangement for two flutes captures the majesty and brightness of the original orchestral piece, making it a fantastic choice for recitals, concerts, or special occasions.Key Features:Composer: George Frideric HandelArrangement: Flute DuetDifficulty Level: IntermediateFormat: Digital Sheet Music PDFPages: Score: 3 pagesThis flute duet arrangement of Hornpipe highlights the rhythmic drive and buoyant melody of Handel’s original composition, allowing both flutes to shine in a vibrant musical conversation. Perfect for a variety of settings, from formal recitals to celebratory events, this piece adds a touch of baroque brilliance to any performance.Why Choose This Arrangement?Authentic Adaptation: Faithfully captures the rhythmic energy and bright melodies of Handel’s Hornpipe from Water Music, arranged for two flutes.Versatile and Joyous: Suitable for various performance settings, including recitals, concerts, weddings, and celebrations.Musically Enriching: Ideal for intermediate flutists, offering an exciting balance of technical challenge and musical satisfaction.Perform one of Handel’s most beloved and recognizable pieces with this dynamic flute duet arrangement of Hornpipe from Water Music. This arrangement is perfect for flutists who want to showcase the elegance and vigor of baroque music.Keywords: George Frideric Handel, Hornpipe, Water Music, flute duet, baroque music, flute sheet music, Handel arrangements, classical music, intermediate flute music, concert flute duet, recital music, celebratory music.
$4.99
4.6 €
#
2 Flûtes traversières (duo)
#
George Frideric Handel
#
Kan Saito / Japan Duo Notes
#
Hornpipe
#
Japan Duo Notes
#
SheetMusicPlus
Star with Royal Beauty Bright: (wp) Baritone T.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0014349_WPBTC1 (wp) Baritone T.C.
(+)
Concert Band - Digital Download SKU: AX.00-PC-0014349_WPBTC1 (wp) Baritone T.C.. Arranged by Jack Bullock. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014349_wpBTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014349_WPBTC1). UPC: 038081381244.The inspiration for this holiday ballad, We Three Kings is the traditional carol which relates the magical, bright star in the sky and its meaning for celebration. Scored in a grandiose ballad style, Star With Royal Beauty Bright will certainly be the highlight on your winter program.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Jack Bullock
#
Star with Royal Beauty Bright:
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Avenging and Bright
Chorus - Digital Download SKU: AX.00-PO-0002662 Avenging and Bright - TTBB. …
(+)
Chorus - Digital Download SKU: AX.00-PO-0002662 Avenging and Bright - TTBB. Arranged by Alice Parker. Lawson Gould Choral. 4 pages. Alfred Music - Digital Sheet Music #00-PO-0002662. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002662). UPC: 783556006077.List/syllabus: TX UIL PML: Vocal, Choral.
$2.25
2.07 €
#
Alice Parker
#
Avenging and Bright
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: 3rd B-flat Trumpet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_T3 3rd B-flat Trumpet.…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_T3 3rd B-flat Trumpet. Composed by Robert Sheldon. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_T3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_T3). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: 3rd B-flat Trumpet
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: E-flat Alto Saxophone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_AX1 E-flat Alto Saxophone
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_AX1 E-flat Alto Saxophone. Composed by Robert Sheldon. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_AX1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_AX1). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: E-flat Alto Saxophone
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: B-flat Tenor Saxophone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_TX1 B-flat Tenor Saxophone…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_TX1 B-flat Tenor Saxophone. Composed by Robert Sheldon. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_TX1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_TX1). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: B-flat Tenor Saxophone
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: 3rd B-flat Clarinet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_C3 3rd B-flat Clarinet…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_C3 3rd B-flat Clarinet. Composed by Robert Sheldon. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_C3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_C3). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: 3rd B-flat Clarinet
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: 2nd B-flat Trumpet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_T2 2nd B-flat Trumpet.…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_T2 2nd B-flat Trumpet. Composed by Robert Sheldon. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_T2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_T2). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: 2nd B-flat Trumpet
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: B-flat Bass Clarinet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_BC B-flat Bass Clarinet
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_BC B-flat Bass Clarinet. Composed by Robert Sheldon. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_BC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_BC). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: B-flat Bass Clarinet
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: Timpani
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_TMP Timpani. Composed …
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_TMP Timpani. Composed by Robert Sheldon. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_TMP. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_TMP). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: Timpani
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: 2nd Trombone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_TN2 2nd Trombone. Comp…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_TN2 2nd Trombone. Composed by Robert Sheldon. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_TN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_TN2). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: 2nd Trombone
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: 1st B-flat Clarinet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_C1 1st B-flat Clarinet…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_C1 1st B-flat Clarinet. Composed by Robert Sheldon. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_C1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_C1). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: 1st B-flat Clarinet
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: E-flat Baritone Saxophone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_BTX E-flat Baritone Saxoph…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_BTX E-flat Baritone Saxophone. Composed by Robert Sheldon. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_BTX. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_BTX). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: E-flat Baritone Saxophone
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: 2nd E-flat Alto Saxophone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_AX2 2nd E-flat Alto Saxoph…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_AX2 2nd E-flat Alto Saxophone. Composed by Robert Sheldon. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_AX2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_AX2). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: 2nd E-flat Alto Saxophone
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: Bells
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_B Bells. Composed by R…
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_B Bells. Composed by Robert Sheldon. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_B. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_B). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: Bells
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Bright Lights!: Tuba
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0017043_TB1 Tuba. Composed by …
(+)
Concert Band - Digital Download SKU: AX.00-PC-0017043_TB1 Tuba. Composed by Robert Sheldon. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017043_TB1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017043_TB1). UPC: 038081498096.'Bright Lights! is a fast-paced, high-energy showcase for concert band. A strong rhythmic pulse drives the tuneful melodies and technical flourishes that are present throughout. Written in a modified rondo form, this joyful offering works well as an opener, closer, or encore piece. (4:00) This title is available in SmartMusic.Concert/Contest; Festival.
$3.00
2.77 €
#
Orchestre d'harmonie
#
Robert Sheldon
#
Festival.
#
Bright Lights!: Tuba
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
<
1
26
51
....
5326
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
