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Five Notes Pattern 8
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Five Notes Pattern 8
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.963456 Composed by Cristiano Vecchi…
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Piano Solo - Level 2 - Digital Download SKU: A0.963456 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz. Score. 6 pages. Cristiano Vecchi #5708685. Published by Cristiano Vecchi (A0.963456). A pattern of five notes in chromatic ascendent progression harmonized with latin flavoured jazz chords, an effective exercise to achieve melodic coherence in improvisation.Twelve transpositions for a very useful practice!My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$1.99
1.82 €
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Piano seul
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Cristiano Vecchi
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Five Notes Pattern 8
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Cristiano Vecchi
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SheetMusicPlus
Five Preludes
Piano seul
Piano Solo - Digital Download SKU: A0.990153 Composed by Don Bowyer (Sunway Univers…
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Piano Solo - Digital Download SKU: A0.990153 Composed by Don Bowyer (Sunway University). Contemporary. Score. 22 pages. Dolphin Don's Music School #6434599. Published by Dolphin Don's Music School (A0.990153). Five Preludes is a set of short pieces for solo piano, exploring various sounds and ideas. Each prelude is one to two minutes in length.Prelude 1: Play-ludeThe main idea of this prelude uses parallel fourths in the left hand with short, dissonant statements in the right hand. The contrasting second idea has a tonal bass line progression below a chromatic figure. The 3/8 time signature gives the piece a quasi-swing feel.Prelude 2: Pray-ludeThis prelude alternates between F major and Gb major, with slow reflective melodic statements over sustained roots. The statements gradually become shorter and shorter until the recapitulation.Prelude 3: Pre-lewdThis whimsical prelude uses a five-note synthetic scale throughout (1, m3, P4, m6, M7), but the scale modulates in a pattern that suggests a standard 16-measure blues progression. There is a repeating figure in the bass using the same modulating scale.Prelude 4: Prelude SolitudeThis slow prelude in 7/4 time has an ostinato bass line that never varies. The six notes of the bass line (Eb, E, F, Ab, A, Bb) form a synthetic scale from which the entire piece is derived.Prelude 5: Pre-ludicrousThis prelude uses the same six-note synthetic scale throughout (C, Eb, E, G, Ab, B). Harmonic motion is established through a repeated bass line, with chords built from every other note of the scale.
$18.99
17.39 €
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Piano seul
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Don Bowyer
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Five Preludes
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Dolphin Don's Music School
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SheetMusicPlus
Presto!: Score
Orchestre à Cordes
String Orchestra - Digital Download SKU: AX.00-PR-0005619 Score. Composed by…
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String Orchestra - Digital Download SKU: AX.00-PR-0005619 Score. Composed by Robert Sheldon. Instructional. Score. 8 pages. Alfred Music - Digital Sheet Music #00-PR-0005619. Published by Alfred Music - Digital Sheet Music (AX.00-PR-0005619). UPC: 038081518077.This joyful, fast-paced composition by Robert Sheldon gives developing players an opportunity to show their spirit and enthusiasm for music. Rapid repeated eighth-note patterns provide an energetic texture as they are passed around the orchestra. The catchy main theme uses only five notes, making this tune perfect for beginners and a great addition to a festival or contest program. (1:25)Concert/Contest; Festival.
$8.00
7.32 €
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Orchestre à Cordes
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Robert Sheldon
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Festival.
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Presto!: Score
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
In the Bleak Midwinter
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1125813 By Michael Swedberg. By Gus…
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Piano Solo - Level 5 - Digital Download SKU: A0.1125813 By Michael Swedberg. By Gustav Holst. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages. Niska Music Publishing #726553. Published by Niska Music Publishing (A0.1125813). Another arrangement that had its genesis as a vocal chart for Five By Design. However, this piece went on to be performed in our holiday show, “A Winter’s Evening.†I have always loved the Gustav Holst melody to Christina Rossetti’s poem, subsequently it was that setting that I chose to arrange for our group. When I was selecting pieces for my second collection of Christmas Preludes, I knew this would be among them. The piece starts out quite gently, and in my mind’s ear I hear a cello and oboe establishing a mood of utter serenity and calm as the snow gently falls outside the frost-covered window. Soon the oboe is joined by a clarinet as they play a duet while the cello continues the gentle sway of eighth notes. For the pianist, there must be great control of the left hand to keep it as calm as possible while the melody floats above, just as the snow falls to the earth. As the second verse begins, the right hand now plays a triplet pattern beneath the melody. It is a gentle breeze, stirred by the wings of angels and cherubim, upon which the crystalline flakes swirl and dance in the cold night air. All the while the left hand continues its steady motion of eighth notes. Halfway through the triplet pattern moves to the left hand and the right hand takes up the eighth notes while still keeping the melody above all. The verse comes to a close with a slowing of the tempo to emphasize the importance of what the poet states in the last lines of the poem: “Yet what I can I give Him, — Give my heart.†It is all that any of us can do, and all that we are asked to do.
$3.99
3.65 €
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Piano seul
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Michael Swedberg
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Terrence Niska
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In the Bleak Midwinter
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Niska Music Publishing
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SheetMusicPlus
Three Poetics for Clarinet and Trombone
Clarinette, Trombone (duo)
Instrumental Duet Clarinet,Instrumental Duet,Trombone - Level 4 - Digital Download SKU:…
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Instrumental Duet Clarinet,Instrumental Duet,Trombone - Level 4 - Digital Download SKU: A0.755341 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 26 pages. Sy Brandon #6676423. Published by Sy Brandon (A0.755341). This composition consists of three movements that are influenced by poetic forms. I. Shadorma - A shadorma has 6 line stanzas where the lines have a syllable count of 3,5,3,3,7,5 respectively. The syllable count was translated into meter therefore creating 3/8, 5/8, two measures of 3/8, 7/8, and 5/8 resulting in 6 measure phrases. II. Cinquain - A cinquain is an American Poem invented by Adelaide Crapsey. It is five lines long and uses a syllable count of 2,4,6,8,2 to determine the line breaks. Three possible variants are mirror 2,4,6,8,2,4,6,8,2; butterfly 2,3,6,8,2,2,4,6,8,2; and reversal 2,8,6,4,2. Mirror and reversal are used in this movement therefore creating a pattern of 2,4,6,8,2,8,6,4,2. The syllable count is reflected in the number of notes in each phrase. III. Bantu - The bantu originated from Swahili speakers therefore incorporating the idea of call and response. The stanzas are couplets where the first line is more metaphorical and the second line more concrete. Call and response between each instrument permeates this movement with alternations of which instrument is the leading voice.
$9.99
9.15 €
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Clarinette, Trombone (duo)
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Sy Brandon
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butterfly 2,3,6,8,2,2,4,6,8,2
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Three Poetics for Clarinet and Trombone
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Sy Brandon
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SheetMusicPlus
Rock Guitar Essentials
Guitare
Guitar - Beginning - Digital Download SKU: M0.30574EB Gig Savers Complete Editio…
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Guitar - Beginning - Digital Download SKU: M0.30574EB Gig Savers Complete Edition. Composed by Corey Christiansen. Gig Savers. Rock and blues, jazz and contemporary. E-book. Mel Bay Publications - Digital Sheet Music #30574EB. Published by Mel Bay Publications - Digital Sheet Music (M0.30574EB). ISBN 9781619116894. 8.75x11.75 inches.Rock Guitar Essentials: Gig Savers Complete Edition combines Corey Christiansen's five previous pocket-sized books. Part 1 of this comprehensive edition gives aspiring rock guitarists a working knowledge of the most basic scales commonly used to improvise rock solos and write rock melodies. A discussion on how each scale can be used over a set of chords is provided to help guitarists use these scales when performing. Charts provide the names of the notes on the fretboard and a section on sequencing scales makes it possible for guitarists to easily master rock scales. Part 2 teaches the rock guitarist how to play any barre chord, providing insight on how to play them with ease and agility. Moveable chord shapes and practice etudes are especially useful for beginners. Part 3 presents comprehensive warm-up and technical exercises. Studies begin at the most basic level and progress in difficulty. This chapter gives guitarists the information needed to continue constructing their own technical exercises. Part 4 presents accompaniment patterns for a wide variety of pop styles such as folk, rock/blues, country/bluegrass, jazz, and some Latin styles including bossa nova and samba. Basic fingerstyle accompaniment patterns are taught in a simple manner, presented with rhythmic notation and string numbers. This chapter pays special attention to the blues, covering alternate changes and substitutions in a method that provides easy transposition. (Chapters 3, 4 and 5 are also included in Jazz Guitar Essentials: Gig Savers Complete Edition).
$14.99
13.72 €
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Guitare
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Corey Christiansen
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Rock Guitar Essentials
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Endless Routes
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.1153134 Composed by Joseph Hasper…
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Concert Band - Level 3 - Digital Download SKU: A0.1153134 Composed by Joseph Hasper. 20th Century,Classical,Contemporary,Contest,Festival,Instructional. Score and parts. 93 pages. Joseph Hasper #753375. Published by Joseph Hasper (A0.1153134). There are five main sections in this piece, each lasting exactly 21 measures. Why this unlikely number? I chose this number because the percussion parts, which are the driving force behind the piece, are based repeating patterns of 6, 7, and 8 eighth notes. It works out that these patterns only line up every 168 half-beats—which happens only at the end of 21 measures! The title for this piece was provided by Armstrong High School student Aaron Baker and was used as inspiration for the work. The phrase “endless routes†guided my decision to have several main themes instead of just one or two. The themes are widely different in character but share the feature that they each go to the same place—the very last half of the last beat of every twenty-first measure. The Minimalist style of music often features short musical fragments that are repeated many times in different combinations, and I used that technique to create a seemingly “endless†effect in the percussion parts. The percussion parts also use a colotomic structure, a technique often used in gamelan music of the far East. Unlike Western music, which generally has a strong accent on the first beat of a phrase, colotomic music accents the last beat of a phrase. You can hear this in Endless Routes when the percussion parts all become aligned and hit a simultaneous accent at the end of each section. This piece was commissioned and premiered by the Armstrong High School, under the direction of Jason Venesky. Mr. Venesky is a veteran teacher with over twenty years of experience in the Armstrong School District. He is a graduate of Carnegie Mellon University with a Bachelor of Fine Arts in Music Performance (Tuba) and Music Education Certification and an active performer as Principal Tuba for the Butler County Symphony Orchestra; tubaist for the Armstrong Brass Quintet and Windsor Brass Quintet; and Bass Trombonist for the Gibbons Big Band. Mr. Venesky is currently Instructor of Tuba at Grove City College and Music Director for the Kittanning Community Band. Includes a full score and complete set of parts.
$40.00
36.62 €
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Orchestre d'harmonie
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Joseph Hasper
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Endless Routes
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Joseph Hasper
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
21.96 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
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