English version
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
Accueil
Instrumentations
Compositeurs
Nouveautés
Top 100
Métronome
Portées musicales
ACHATS POUR MUSICIENS
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
8
Partitions
Numériques
16
Librairie
Musicale
230
Matériel
de Musique
0
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
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
Non classifié
6
PIANO & CLAVIERS
Piano seul
1
GUITARES
Mandoline
1
VOIX
VENTS
CUIVRES
2 Trombones (duo)
1
Trombone
1
CORDES
Trio à Cordes: violon, alto, violoncelle
2
Violon et Piano
2
Harpe
1
PERCUSSIONS & ORCHESTRES
Piano et Orchestre
1
AUTRES
Vous avez sélectionné:
Compiled and Method
Partitions à imprimer
16 partitions trouvées
<
1
Complete Mandolinist, Volume 2: Music in Context
Mandoline
Mandolin - Intermediate - Digital Download Bluegrass. E-book. 288 pages. Mel Bay Publ…
(+)
Mandolin - Intermediate - Digital Download Bluegrass. E-book. 288 pages. Mel Bay Publications - Digital Sheet Music #30782EB. Published by Mel Bay Publications - Digital Sheet Music
In this sequel to The Complete Mandolinist, world-renowned mandolinist Marilynn Mair expands on her previous method books, presenting over 100 compositions that span 5 centuries, works she has thoughtfully edited or arranged for mandolin. Each piece is accompanied by a paragraph or two of musical context, and the book also includes 24 short essays on the evolution of musical style, drawn from Marilynns decades as a Professor of Music History. Music by great composers like Bach, Vivaldi, Mozart, and Beethoven mixes with interesting compositions by little-known mandolin composers like Piccone, Barbella, Leone, and Gervasio, works Marilynn has discovered during her performing and recording career. Concert pieces range from quite easy to very advanced, with most lying between those two extremes. In addition to music of the Renaissance, Baroque, Classical, Romantic, and 20th Century, Marilynn includes contemporary pieces by some of her favorite composers writing today. This book holds a musical world Marilynn has compiled and presents to you. The Complete Mandolinist, Volume 2: Music in Context, is a book you will reach for again and again.In this sequel to The Complete Mandolinist, world-renowned mandolinist Marilynn Mair expands on her previous method books, presenting over 100 compositions that span 5 centuries, works she has thoughtfully edited or arranged for mandolin. Each piece is accompanied by a paragraph or two of musical context, and the book also includes 24 short essays on the evolution of musical style, drawn from Marilynns decades as a Professor of Music History. Music by great composers like Bach, Vivaldi, Mozart, and Beethoven mixes with interesting compositions by little-known mandolin composers like Piccone, Barbella, Leone, and Gervasio, works Marilynn has discovered during her performing and recording career. Concert pieces range from quite easy to very advanced, with most lying between those two extremes. In addition to music of the Renaissance, Baroque, Classical, Romantic, and 20th Century, Marilynn includes contemporary pieces by some of her favorite composers writing today. This book holds a musical world Marilynn has compiled and presents to you. The Complete Mandolinist, Volume 2: Music in Context, is a book you will reach for again and again.
$29.99
27.31 €
#
Mandoline
#
Complete Mandolinist, Volume 2: Music in Context
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
School for Trombone - Volumes 1, 2 and 3 complete
Trombone
Trombone Solo - Level 3 - Digital Download SKU: A0.810972 Composed by Mueller, Robe…
(+)
Trombone Solo - Level 3 - Digital Download SKU: A0.810972 Composed by Mueller, Robert. Arranged by Cherry, Gordon. Instructional. Individual part. 208 pages. Gordon Cherry #4309377. Published by Gordon Cherry (A0.810972). Albert Robert Mueller (Müller) was a German trombonist born in 1849. He initially received violin lessons and discovered his talent for trombone playing at the age of twelve. He eventually settled in Leipzig and became a member of the Leipzig Gewandhaus Orchestra as well as a teacher at the Royal Conservatory of Music. He wrote the School for Trombone in 1902. (Wikipedia) The School for Trombone (part of our Vintage Brass Series, not to be confused with the Technical Etudes) is a very detailed and comprehensive book in three volumes totalling 208 pages, the text being divided into German, English and Russian languages. • Volume I includes detailed lessons on music theory including all scales and keys, rhythm, time signatures, rests, accents, accidentals, explanations of tempo markings, dynamics, posture, tone, a table of positions and notes. The lessons go through different keys starting very slowly and methodically with short exercises....not going too fast for the beginning student. Along the way Mueller inserts easy duets to perform with teacher and student, including many Bach chorales, etc. to get tuning and tone solidified. • Volume II for the intermediate level student, begins with the first studies of slurs and legato. He introduces simple songs and famous melodies including more duets. The exercises get progressively more difficult and include the entire collection of ornaments. • Volume III, for the more advanced student, introduces tenor and alto clefs in scales and studies including more duets. Compiled by Gordon Cherry
$30.00
27.32 €
#
Trombone
#
Mueller, Robert
#
Cherry, Gordon
#
School for Trombone - Volumes 1, 2 and 3 complete
#
Gordon Cherry
#
SheetMusicPlus
Arban Method for Alto Trombone - Part 1
Instrumental Solo - Level 3 - Digital Download SKU: A0.811199 Composed by Jean-Bapt…
(+)
Instrumental Solo - Level 3 - Digital Download SKU: A0.811199 Composed by Jean-Baptiste Arban. Arranged by Wayne Groves. Instructional,Standards. Individual part. 98 pages. Gordon Cherry #6120351. Published by Gordon Cherry (A0.811199). The Arban Method is a complete pedagogical method for students of the Trumpet, Cornet, and other brass instruments. First published by Jean-Baptiste Arban in 1859, it contains hundreds of exercises, ranging in difficulty. The method begins with basic exercises and progresses to very advanced compositions, including the famous arrangement of Carnival of Venice. (Wikipedia)Wayne Groves has arranged, edited, and compiled the entire method into 4 parts. Part 1 (98 pages) contains the following: Foreword, Introduction, Alto Trombone Slide Chart, First Studies, Rhythmic Studies, Studies on Syncopation, Dotted Eighth Note and Sixteenth Notes, 6/8 time, Studies on the Slur, Lip Slurs and Flexibility Studies, Major Scales, Chromatic Scales, and Chromatic Studies.
$25.00
22.76 €
#
Jean-Baptiste Arban
#
Wayne Groves
#
Arban Method for Alto Trombone - Part 1
#
Gordon Cherry
#
SheetMusicPlus
Arban Method for Alto Trombone Part 3
Instrumental Solo - Level 4 - Digital Download SKU: A0.792774 Composed by Jean-Bapt…
(+)
Instrumental Solo - Level 4 - Digital Download SKU: A0.792774 Composed by Jean-Baptiste Arban. Arranged by Wayne Groves. Instructional,Standards. Individual part. 122 pages. Gordon Cherry #6350363. Published by Gordon Cherry (A0.792774). The Arban Method is a complete pedagogical method for students of the Trumpet, Cornet, and other brass instruments. First published by Jean-Baptiste Arban in 1859, it contains hundreds of exercises, ranging in difficulty. The method begins with basic exercises and progresses to very advanced compositions, including the famous arrangement of Carnival of Venice. (Wikipedia)Wayne Groves has arranged, edited, and compiled the entire method into 4 parts for the Alto Trombone. This edition is invaluable for performers wishing to build on their Alto Trombone technique as well as Tenor Trombonists wishing to improve their high register and alto clef reading.Part 3 (122 pages) contains the following: Foreword, Introduction, 150 studies on The Art of Phrasing, 14 Characteristic Studies, 12 Arban's Solos with Variations including the famous Carnival of Venice solo.
$27.50
25.04 €
#
Jean-Baptiste Arban
#
Wayne Groves
#
Arban Method for Alto Trombone Part 3
#
Gordon Cherry
#
SheetMusicPlus
Arban Method for Alto Trombone Part 4
2 Trombones (duo)
Trombone Duet Trombone - Level 4 - Digital Download SKU: A0.792794 Composed by Jean…
(+)
Trombone Duet Trombone - Level 4 - Digital Download SKU: A0.792794 Composed by Jean-Baptiste Arban. Arranged by Wayne Groves. Classical,Instructional,Romantic Period. Score. 85 pages. Gordon Cherry #6529391. Published by Gordon Cherry (A0.792794). The Arban Method is a complete pedagogical method for students of the Trumpet, Cornet, and other brass instruments. First published by Jean-Baptiste Arban in 1859, the Method contains hundreds of exercises, ranging in difficulty. The Method begins with basic exercises and progresses to very advanced compositions, including the famous arrangement of Carnival of Venice. (Wikipedia)Wayne Groves has arranged, edited, and compiled the entire method into 4 parts for the Alto Trombone. This edition is invaluable for performers wishing to build on their Alto Trombone technique as well as Tenor Trombonists wishing to improve their high register and alto clef reading.Part 4 (85 pages) contains the following: Foreword, Introduction, 68 duets for two alto trombones, plus an additional 60 different duets from the 1879 Edition of the Arban Method.These duets can be played on the Alto or Tenor Trombone and are great for student and teacher.
$22.50
20.49 €
#
2 Trombones (duo)
#
Jean-Baptiste Arban
#
Wayne Groves
#
Arban Method for Alto Trombone Part 4
#
Gordon Cherry
#
SheetMusicPlus
Selected Studies and Scales for Bass Trombone or Tuba
Bass Trombone,Instrumental Solo - Level 4 - Digital Download SKU: A0.792787 Compose…
(+)
Bass Trombone,Instrumental Solo - Level 4 - Digital Download SKU: A0.792787 Composed by Jean-Baptiste Arban. Arranged by Wade Goodwin. Instructional. Individual part. 134 pages. Gordon Cherry #6437485. Published by Gordon Cherry (A0.792787). The Arban Method has been a staple for cornetists, trumpeters, and trombonists for generations. Dr. Wade Goodwin has now compiled, arranged, and edited Selected Studies and Scales for Bass Trombone or Tuba from the famous method book.Also, he has taken many of the most relevant and transposed them into different keys to maximize the effectiveness of the most valuable studies. For tubists, some of these may be more appropriate on F Tuba.The range goes from very low Double Pedal D-flat to a high C (C5) an octave above middle C (C4) on the piano.This fantastic new addition to the repertoire contains over 139 pages of the best exercises and is sure to improve the technique of the performer.This method book is appropriate for intermediate to advanced performers.
$30.00
27.32 €
#
Jean-Baptiste Arban
#
Wade Goodwin
#
Selected Studies and Scales for Bass Trombone or Tuba
#
Gordon Cherry
#
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
21.84 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
What Wondrous Love is This! with Amazing Grace
Violon et Piano
Large Ensemble Piano,Violin - Level 3 - Digital Download SKU: A0.818341 By Stephen …
(+)
Large Ensemble Piano,Violin - Level 3 - Digital Download SKU: A0.818341 By Stephen R Dalrymple. By English Folk Tune, lyrics att Alexander Means, Edwin O Excell, John Newton. Arranged by Stephen R Dalrymple (Dalrymple Designs). Sacred. 45 pages. Stephen R Dalrymple #6233919. Published by Stephen R Dalrymple (A0.818341). What Wondrous Love is This!arranged for violin and piano by Stephen R Dalrymple transcribed for flute, clarinet, trumpet, euphonium (or trombone), viola, and cello recording performed by Jim Jansen and Stephen R Dalrymple   The lyrics were first published in Lynchburg, Virginia in the 1811 camp meeting songbook A General Selection of the Newest and Most Admired Hymns and Spiritual Songs Now in Use. In most early printings, no author is listed for the text. The 1848 hymnal The Hesperian Harp attributes the text to Alexander means, a Methodist pastor from Oxford   Most sources attribute the hymn's melody to the 1701 English song The Ballad of Captain Kidd, but the melody predates the Kidd tune, however, possibly by more than a century. Camp meeting attendees during the Second Great Awakening would sing the hymns from text only hymnals to a variety of popular melodies. The text and melody were first published together in The Southern Harmony, a book of shape note hymns compiled by William Walker. (excerpted from Wikipedia)   What Wondrous Love is This! is set in the Dorian mode. The mode gives the song a poignant, evocative mood.   What Wondrous Love is This? text attributed to Alexander Means tune attributed to William Walker in The Southern Harmony and Musical Companion (1835)   Amazing Grace text - John Newton 1779 tune - Virginia Harmony 1831 arranged by Edwin O. Excell 1900   This .pdf file includes 16 score choices ♫ Full Score for violin and piano letter size ♫ Flute, Oboe, Clarinet, Trumpet, Euphonium (or trombone), Violin, Viola and Cello solo parts, ♫ Full Score for violin and small page format for performing from a 10 inch tablet and ♫ the same solo parts for 10 inch tablet. tablet   (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.).
$4.50
4.1 €
#
Violon et Piano
#
Stephen R Dalrymple
#
What Wondrous Love is This! with Amazing Grace
#
Stephen R Dalrymple
#
SheetMusicPlus
SCALES FOR VIOLIN
Trio à Cordes: violon, alto, violoncelle
String Ensemble Cello,Viola,Violin - Level 1 - Digital Download SKU: A0.1435938 Com…
(+)
String Ensemble Cello,Viola,Violin - Level 1 - Digital Download SKU: A0.1435938 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by Violin Friends. Chamber,Children,Classical,Instructional,Traditional. Educational Exercises. 138 pages. Suomi Music #1016106. Published by Suomi Music (A0.1435938). Let's Play Scales for String Ensemble and School OrchestraLET’S PLAY SCALES AS DUETS is a fun collection of scales compiled from some of the most important Violin Method Books written by famous violinist and teachers in France,Germany, Italy and Belgium.Explore the time-honored tradition of violin instruction with this comprehensive assortment of scales, sourced from esteemed violin method books in European violin pedagogy. Let’s Play Scales as Duets offers a curated selection of scale exercises presented in a collaborative duet format.Derived from prominent violin method books of France, Germany, Italy, and Belgium, this book provides a valuable resource for students and educators alike. Each duet is thoughtfully designed to promote intonation, musical phrasing, and listening skills through the shared experience of making music together. Moreover, each scale can be practiced in the classroom but also suits performance, adding versatility to your repertoire.The scales have been carefully selected and arranged from the following publications: Easiest elementary Method for Beginners, Op. 38 by Franz Wohlfart (1875) Méthode de Violin by Jaques Féreol Mazas (1832) Méthode de Violon, Op. 102 by Charles de Bériot (1857) Metodo elementare e progressivo per Violino, Op. 55 di Carlo Dancla (1852) Méthode de Violon by Ferdinand Kuechler (1910) Violin School for Beginners, Op.6 by Otakar Sevcik (1903) Méthode de Violon by Baillot, Rode et Kreutzer (ca.1835) Nouvelle Méthode de la Mécanique progressive du Jeu de Violon by Bartolomeo Campagnoli (1827) SCALES AS DUETS by Violin Friends is available for 2 violins, 2 violas and 2 cellos.Total number of scales: 75Printable pages: 138.
$19.99
18.2 €
#
Trio à Cordes: violon, alto, violoncelle
#
Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler
#
Violin Friends
#
SCALES FOR VIOLIN
#
Suomi Music
#
SheetMusicPlus
SCALES FOR VIOLA
String Ensemble Cello,Double bass,Viola - Level 1 - Digital Download SKU: A0.1435941
(+)
String Ensemble Cello,Double bass,Viola - Level 1 - Digital Download SKU: A0.1435941 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by Violin Friends. Chamber,Children,Classical,Instructional,Romantic Period. Educational Exercises. 138 pages. Suomi Music #1016108. Published by Suomi Music (A0.1435941). Let’s Play Scales as Duets For Viola is a fun collection of scales compiled from some of the most important Violin Method Books written by famous violinist and teachers in France, Germany, Italy, Belgium and Czech Republic.Explore the time-honored tradition of viola instruction with this comprehensiveassortment of scales, sourced from esteemed violin method books in Europeanviolin pedagogy. Let’s Play Scales as Duets For Viola offers a curated selection of ’ scale exercises presented in a collaborative duet format.Let’s Play Scales as Duets For Viola provides a valuable resource for students and educators alike. Each duet is thoughtfully designed to promote intonation, musical phrasing, and listening skills through the shared experience of making music together. Moreover, each scale can be practiced in the classroom but also suits performance, adding versatility to your repertoire.The scales have been carefully selected and arranged from the following publications: Easiest elementary Method for Beginners, Op. 38 by Franz Wohlfart (1875) Méthode de Violin by Jaques Féreol Mazas (1832) Méthode de Violon, Op. 102 by Charles de Bériot (1857) Metodo elementare e progressivo per Violino, Op. 55 di Carlo Dancla (1852) Méthode de Violon by Ferdinand Kuechler (1910) Violin School for Beginners, Op.6 by Otakar Sevcik (1903) Méthode de Violon by Baillot, Rode et Kreutzer (ca.1835) Nouvelle Méthode de la Mécanique progressive du Jeu de Violon by Bartolomeo Campagnoli (1827) Let’s Play Scales as Duets by Violin Friends is available for 2 violins, 2 violas and 2 cellos.Total number of scales: 75Printable pages: 138.
$19.99
18.2 €
#
Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler
#
Violin Friends
#
SCALES FOR VIOLA
#
Suomi Music
#
SheetMusicPlus
SCALES FOR CELLO
Trio à Cordes: violon, alto, violoncelle
String Ensemble Cello,Viola,Violin - Level 1 - Digital Download SKU: A0.1442070 Com…
(+)
String Ensemble Cello,Viola,Violin - Level 1 - Digital Download SKU: A0.1442070 Composed by Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler. Arranged by Violin Friends. Chamber,Children,Classical,Instructional,Romantic Period. Educational Exercises. 137 pages. Suomi Music #1022066. Published by Suomi Music (A0.1442070). LET’S PLAY SCALES AS DUETS FOR CELLOLet’s Play Scales as Duets for Cello is a fun collection of scales compiled from some of the most important Violin Method Books written by famous violinist and teachers in France, Germany, Italy, Belgium and Czech Republic.Explore the time-honored tradition of violin instruction with this comprehensiveassortment of scales, sourced from esteemed violin method books in Europeanviolin pedagogy. Let’s Play Scales as Duets for Cello offers a curated selection of scale exercises presented in a collaborative duet format.Let’s Play Scales as Duets for Cello provides a valuable resource for students and educators alike. Each duet is thoughtfully designed to promote intonation, musical phrasing, and listening skills through the shared experience of making music together. Moreover, each scale can be practiced in the classroom but also suits performance, adding versatility to your repertoire.The scales have been carefully selected and arranged from the following publications: Easiest elementary Method for Beginners, Op. 38 by Franz Wohlfart (1875) Méthode de Violin by Jaques Féreol Mazas (1832) Méthode de Violon, Op. 102 by Charles de Bériot (1857) Metodo elementare e progressivo per Violino, Op. 55 di Carlo Dancla (1852) Méthode de Violon by Ferdinand Kuechler (1910) Violin School for Beginners, Op.6 by Otakar Sevcik (1903) Méthode de Violon by Baillot, Rode et Kreutzer (ca.1835) Nouvelle Méthode de la Mécanique progressive du Jeu de Violon by Bartolomeo Campagnoli (1827)Let’s Play Scales as Duets by Violin Friends is available for 2 violins, 2 violas and 2 cellos.Number of Scales: 75Printable pages: 138.
$19.90
18.12 €
#
Trio à Cordes: violon, alto, violoncelle
#
Wohlfart, Campagnoli, Mazas, Beriot, Cherubini, Dancla, Küchler
#
Violin Friends
#
SCALES FOR CELLO
#
Suomi Music
#
SheetMusicPlus
Teaching the Lever Harp
Harpe
Harp - Digital Download Composed by Joyce Rice. Method, General Instructional. 105 pa…
(+)
Harp - Digital Download Composed by Joyce Rice. Method, General Instructional. 105 pages. Published by Afghan Press Music for the Harp
A compilation of ideas, suggestions, and helpful hints from experienced harp teachers. Contributors to this book included Stephanie Curcio, Sue Richards, Kim Robertson, Ellen Tepper, Derek Bell, Liz Cifani, Wendy Kerner Lucas, Louise Trotter, and many more. It was compiled at the Professional Harpers Gathering on the East Coast in the early 1990's. Sixteen chapters, well over 100 pages, and a complete index.This is an excellent resource for any teacher of harp.<br> <br> Table of Contents:<br> The First Lesson, Group Lessons, Tuning, Relaxation, Theory, Practicing, Sightreading, Memorization, Musicality, Choosing Repertoire, Playing by Ear, Improvising, Sessions, Accompanying and Arranging, Orchestral Playing, Becoming a Confident Performer, Stage Deportment.A compilation of ideas, suggestions, and helpful hints from experienced harp teachers. Contributors to this book included Stephanie Curcio, Sue Richards, Kim Robertson, Ellen Tepper, Derek Bell, Liz Cifani, Wendy Kerner Lucas, Louise Trotter, and many more. It was compiled at the Professional Harpers Gathering on the East Coast in the early 1990's. Sixteen chapters, well over 100 pages, and a complete index.This is an excellent resource for any teacher of harp.<br> <br> Table of Contents:<br> The First Lesson, Group Lessons, Tuning, Relaxation, Theory, Practicing, Sightreading, Memorization, Musicality, Choosing Repertoire, Playing by Ear, Improvising, Sessions, Accompanying and Arranging, Orchestral Playing, Becoming a Confident Performer, Stage Deportment.
$20.00
18.21 €
#
Harpe
#
Joyce Rice
#
Teaching the Lever Harp
#
Afghan Press Music for the Harp
#
SheetMusicPlus
Easy Concert Pieces
Violon et Piano
Piano - very easy - Digital Download 50 Easy Pieces from 5 Centuries. This edition: …
(+)
Piano - very easy - Digital Download 50 Easy Pieces from 5 Centuries. This edition: Sheet music. Unterricht, Konzert, Piano. Easy Concert Pieces. Downloadable. Op. 1. Schott Music - Digital #Q49447. Published by Schott Music - Digita
For the Easy Concert Pieces series, the experienced piano teacher Monika Twelsiek compiled pleasant, easy piano pieces for beginners and published them in three volumes in progressive order.<br> <br> The three volumes are intended to complement a piano tutorial method and are particularly suitable for performance at auditions at music schools, for examinations and for competitions. They offer varied repertoire in a broad selection of pieces from the Baroque, Classical, Romantic and Modern eras.<br> <br> Volume 1 (ED 22547) can already be used by beginners, containing pieces in the five-note range and easy pieces spanning a single octave. Other criteria for selection are simple rhythms and very easy chords. Crossing the thumb underneath, playing several parts together and pedal use are not yet required.<br> <br> Volume 2 (ED 22548) contains pieces with an extended range of two octaves. Crossing the thumb under, pedal use, simple polyphony and three- or four-part chords all feature here, as do simple ornaments, cantabile playing and differentiating between melody and accompaniment.<br> <br> Volume 3 (ED 22549) is aimed at advanced players who wish to refine their expression and personal interpretation. The pieces demand a great deal of dexterity, a high sense of rhythm, articulation and phrasing, polyphonic playing (polyphony even in one hand) and tonal differentiation of the piano setting.For the Easy Concert Pieces series, the experienced piano teacher Monika Twelsiek compiled pleasant, easy piano pieces for beginners and published them in three volumes in progressive order.<br> <br> The three volumes are intended to complement a piano tutorial method and are particularly suitable for performance at auditions at music schools, for examinations and for competitions. They offer varied repertoire in a broad selection of pieces from the Baroque, Classical, Romantic and Modern eras.<br> <br> Volume 1 (ED 22547) can already be used by beginners, containing pieces in the five-note range and easy pieces spanning a single octave. Other criteria for selection are simple rhythms and very easy chords. Crossing the thumb underneath, playing several parts together and pedal use are not yet required.<br> <br> Volume 2 (ED 22548) contains pieces with an extended range of two octaves. Crossing the thumb under, pedal use, simple polyphony and three- or four-part chords all feature here, as do simple ornaments, cantabile playing and differentiating between melody and accompaniment.<br> <br> Volume 3 (ED 22549) is aimed at advanced players who wish to refine their expression and personal interpretation. The pieces demand a great deal of dexterity, a high sense of rhythm, articulation and phrasing, polyphonic playing (polyphony even in one hand) and tonal differentiation of the piano setting.
$16.99
15.47 €
#
Violon et Piano
#
Easy Concert Pieces
#
Schott Music - Digita
#
SheetMusicPlus
Ballade in F♯ Minor "Conte du soir", Op.50 – Adolf Gutmann
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1166699 By Adolf Gutmann. By Adolf …
(+)
Piano Solo - Level 5 - Digital Download SKU: A0.1166699 By Adolf Gutmann. By Adolf Gutmann. Arranged by Zellev. 19th Century,Broadway,Classical,Musical/Show,Religious,Romantic Period. Score. 6 pages. Zellev Music #767081. Published by Zellev Music (A0.1166699). Adolf Gutmann was born in Heidelberg. He came to Paris in 1834,[4] at the age of 15, to study with Chopin, becoming one of the composer's favourites.[5] He performed in concert with Chopin, Liszt, Charles-Valentin Alkan and Pierre-Joseph Zimmerman, Alkan's transcription of part of Beethoven's Seventh Symphony at a concert of 1838.[6] Gutmann was also the dedicatee of Chopin's Scherzo, Op. 39, published in 1839.[7]Gutmann acted as copyist for a number of Chopin's works, and acted as a courier to take Chopin's letters to his family in Warsaw. Gutmann's own set of Etudes (his Op. 12) is dedicated to Chopin.[6] He was present at Chopin's death bed and preserved the glass from which Chopin took his last drink of water. Both he and Alkan were bequeathed the notes that Chopin had compiled in preparation for a piano teaching method. Gutmann died in La Spezia.[https://en.wikipedia.org/wiki/Adolphe_Gutmann]Key Signature: F♯ MinorTime Signature: Cut TimeTempo: (original: Allegro), Presto at 192 bpm (faster for added mysteriousness)Difficulty: Advanced.
$8.00
7.28 €
#
Piano seul
#
Adolf Gutmann
#
Zellev
#
Ballade in F♯ Minor "Conte du soir", Op.50 – Adolf Gutmann
#
Zellev Music
#
SheetMusicPlus
The Budding Trumpetplayer
Trumpet (Piston, Saxhorn) - Digital Download SKU: S9.Q21014 Exercises for the fi…
(+)
Trumpet (Piston, Saxhorn) - Digital Download SKU: S9.Q21014 Exercises for the first grade. This edition: Sheet music. Downloadable. Schott Music - Digital #Q21014. Published by Schott Music - Digital (S9.Q21014). The well-known music teacher Francois Daneels has compiled collections of easy technical exercises and little studies for beginners' classes. They are in progressive order, providing an ideal complement to every instrumental method.
$15.99
14.56 €
#
The Budding Trumpetplayer
#
Schott Music - Digital
#
SheetMusicPlus
The Budding Saxophonist
Saxophone - very easy to easy - Digital Download SKU: S9.Q21038 Exercises for th…
(+)
Saxophone - very easy to easy - Digital Download SKU: S9.Q21038 Exercises for the first grade. Composed by Francois Daneels. This edition: Sheet music. Downloadable. Schott Music - Digital #Q21038. Published by Schott Music - Digital (S9.Q21038). German • English • French.The well-known music teacher Francois Daneels has compiled collections of easy technical exercises and little studies for beginners' classes. They are in progressive order, providing an ideal complement to every instrumental method.
$15.99
14.56 €
#
Francois Daneels
#
The Budding Saxophonist
#
Schott Music - Digital
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
