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Flying For Me
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The Flying Dutchman
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - Digital Download SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.
$42.99
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Richard Wagner
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The Flying Dutchman
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Schott Music - Digital
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SheetMusicPlus
United States of America National Anthem for Symphony Orchestra (KT Olympic Anthem Series)
Orchestre
Full Orchestra - Intermediate - Digital Download Composed by John Stafford Smith (30 …
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Full Orchestra - Intermediate - Digital Download Composed by John Stafford Smith (30 March 1750 – 21 September 1836). Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 28 pages. Published by Music for all Occasions
The national anthem of the USA arranged for full orchestra. There are also versions for Brass Quintet & String Orchestra in my stores.<br> <br> <br> "The Star-Spangled Banner" is the national anthem of the United States. The lyrics come from the Defence of Fort M'Henry, a poem written on September 14, 1814, by the then 35-year-old lawyer and amateur poet Francis Scott Key after witnessing the bombardment of Fort McHenry by British ships of the Royal Navy in Baltimore Harbor during the Battle of Baltimore in the War of 1812. Key was inspired by the large U.S. flag, with 15 stars and 15 stripes, known as the Star-Spangled Banner, flying triumphantly above the fort during the U.S. victory.<br> <br> The poem was set to the tune of a popular British song written by John Stafford Smith for the Anacreontic Society, a men's social club in London. "To Anacreon in Heaven" (or "The Anacreontic Song"), with various lyrics, was already popular in the United States. Set to Key's poem and renamed "The Star-Spangled Banner", it soon became a well-known U.S. patriotic song. With a range of 19 semitones, it is known for being very difficult to sing. Although the poem has four stanzas, only the first is commonly sung today.<br> <br> "The Star-Spangled Banner" was recognized for official use by the United States Navy in 1889, and by U.S. President Woodrow Wilson in 1916, and was made the national anthem by a congressional resolution on March 3, 1931 (46 Stat. 1508, codified at 36 U.S.C. § 301), which was signed by President Herbert Hoover.<br> <br> Before 1931, other songs served as the hymns of U.S. officialdom. "Hail, Columbia" served this purpose at official functions for most of the 19th century. "My Country, 'Tis of Thee", whose melody is identical to "God Save the Queen", the United Kingdom's national anthem, also served as a de facto national anthem. Following the War of 1812 and subsequent U.S. wars, other songs emerged to compete for popularity at public events, among them "America the Beautiful", which itself was being considered before 1931, as a candidate to become the national anthem of the United States.<br> <br> John Stafford Smith (30 March 1750 – 21 September 1836) was a British composer, church organist, and early musicologist. He was one of the first serious collectors of manuscripts of works by Johann Sebastian Bach.<br> <br> Stafford Smith is best known for writing the music for "The Anacreontic Song", which became the tune for the US patriotic song "The Star-Spangled Banner" following the War of 1812, and in 1931 was adopted as the national anthem of the United States.<br> <br> Love anthems, then join me on twitter, instagram, facebook & soundcloud for updates.The national anthem of the USA arranged for full orchestra. There are also versions for Brass Quintet & String Orchestra in my stores.<br> <br> <br> "The Star-Spangled Banner" is the national anthem of the United States. The lyrics come from the Defence of Fort M'Henry, a poem written on September 14, 1814, by the then 35-year-old lawyer and amateur poet Francis Scott Key after witnessing the bombardment of Fort McHenry by British ships of the Royal Navy in Baltimore Harbor during the Battle of Baltimore in the War of 1812. Key was inspired by the large U.S. flag, with 15 stars and 15 stripes, known as the Star-Spangled Banner, flying triumphantly above the fort during the U.S. victory.<br> <br> The poem was set to the tune of a popular British song written by John Stafford Smith for the Anacreontic Society, a men's social club in London. "To Anacreon in Heaven" (or "The Anacreontic Song"), with various lyrics, was already popular in the United States. Set to Key's poem and renamed "The Star-Spangled Banner", it soon became a well-known U.S. patriotic song. With a range of 19 semitones, it is known for being very difficult to sing. Although the poem has four stanzas, only the first is commonly sung today.<br> <br> "The Star-Spangled Banner" was recognized for official use by the United States Navy in 1889, and by U.S. President Woodrow Wilson in 1916, and was made the national anthem by a congressional resolution on March 3, 1931 (46 Stat. 1508, codified at 36 U.S.C. § 301), which was signed by President Herbert Hoover.<br> <br> Before 1931, other songs served as the hymns of U.S. officialdom. "Hail, Columbia" served this purpose at official functions for most of the 19th century. "My Country, 'Tis of Thee", whose melody is identical to "God Save the Queen", the United Kingdom's national anthem, also served as a de facto national anthem. Following the War of 1812 and subsequent U.S. wars, other songs emerged to compete for popularity at public events, among them "America the Beautiful", which itself was being considered before 1931, as a candidate to become the national anthem of the United States.<br> <br> John Stafford Smith (30 March 1750 – 21 September 1836) was a British composer, church organist, and early musicologist. He was one of the first serious collectors of manuscripts of works by Johann Sebastian Bach.<br> <br> Stafford Smith is best known for writing the music for "The Anacreontic Song", which became the tune for the US patriotic song "The Star-Spangled Banner" following the War of 1812, and in 1931 was adopted as the national anthem of the United States.<br> <br> Love anthems, then join me on twitter, instagram, facebook & soundcloud for updates.
$39.00
35.77 €
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Orchestre
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John Stafford Smith
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Keith Terrett
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United States of America National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
Flying
Orchestre d'harmonie
Concert band - Grade 4 - Digital Download SKU: IZ.CBW1815-S Composed by Daniel Bald…
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Concert band - Grade 4 - Digital Download SKU: IZ.CBW1815-S Composed by Daniel Baldwin. Score. 60 pages. Imagine Music - Digital #CBW1815-S. Published by Imagine Music - Digital (IZ.CBW1815-S). 9 x 12 in inches.The inspiration for Flying came on a flight I took to one of my premieres. Usually on those flights I will work on music, sleep, listen to music, or watch a show on my phone. However, on this particular leg of a flight, I happened to spend a portion of the trip staring out the window (which is unusual for me as I am prone to bouts of vertigo for which I have series of techniques to stave it off) admiring the beautiful scenery unfolding in front of me. The opportunity to set this scene to music became a reality when Jim McAllister, director of bands at Lincoln Memorial University and one of my best friends in the world, approached me about a commission. I wrote him an expansive hypermetric piece (over 400 measures in one movement) that reflects my thoughts, feelings, and impressions as I admired the view from sky.Flying was commissioned by and is gratefully dedicated to the Lincoln Memorial University Band and its world class conductor, James McAllister.
$16.00
14.67 €
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Orchestre d'harmonie
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Daniel Baldwin
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Flying
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Imagine Music - Digital
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SheetMusicPlus
Flying
Orchestre d'harmonie
Concert band - Grade 4 - Digital Download SKU: IZ.CBW1815 Composed by Daniel Baldwi…
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Concert band - Grade 4 - Digital Download SKU: IZ.CBW1815 Composed by Daniel Baldwin. Score and Parts. 169 pages. Imagine Music - Digital #CBW1815. Published by Imagine Music - Digital (IZ.CBW1815). 9 x 12 in inches.The inspiration for Flying came on a flight I took to one of my premieres. Usually on those flights I will work on music, sleep, listen to music, or watch a show on my phone. However, on this particular leg of a flight, I happened to spend a portion of the trip staring out the window (which is unusual for me as I am prone to bouts of vertigo for which I have series of techniques to stave it off) admiring the beautiful scenery unfolding in front of me. The opportunity to set this scene to music became a reality when Jim McAllister, director of bands at Lincoln Memorial University and one of my best friends in the world, approached me about a commission. I wrote him an expansive hypermetric piece (over 400 measures in one movement) that reflects my thoughts, feelings, and impressions as I admired the view from sky.Flying was commissioned by and is gratefully dedicated to the Lincoln Memorial University Band and its world class conductor, James McAllister.
$110.00
100.89 €
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Orchestre d'harmonie
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Daniel Baldwin
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Flying
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Imagine Music - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)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 €
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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
Josef Wagner : Le Vaisseau fantôme WWV 63, Acte II - Ballade de Senta (Arr. F. Liszt)
Piano seul
Téléchargez la partition Piano Le Vaisseau fantôme WWV 63, Acte II - B…
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Téléchargez la partition Piano Le Vaisseau fantôme WWV 63, Acte II - Ballade de Senta (Arr. F. Liszt) de Wagner. Partition pour Piano seul -- Classique
3.99 €
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Piano seul
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Josef Wagner
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Le Vaisseau fantôme WWV 63, A
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Tomplay
Josef Wagner : Le Vaisseau fantôme WWV 63, Acte II - Chœur des fileuses (Arr. F. Liszt)
Piano seul
Téléchargez la partition Piano Le Vaisseau fantôme WWV 63, Acte II - C…
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Téléchargez la partition Piano Le Vaisseau fantôme WWV 63, Acte II - Chœur des fileuses (Arr. F. Liszt) de Wagner. Partition pour Piano seul -- Classique
3.99 €
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Piano seul
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Josef Wagner
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Le Vaisseau fantôme WWV 63, A
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Tomplay
Peace for Five
Small Ensemble Clarinet,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet - Level 3 - D…
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Small Ensemble Clarinet,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.965391 Composed by Colin P. Langille. Contemporary. Score and parts. 14 pages. Flying Baton Publications #5887325. Published by Flying Baton Publications (A0.965391). Four instruments playing four partner songs with an independent piano, first one, then another, combining all five instruments by the end. On their own, each tune is unique, but all calming and lyrical, with slightly different phrasing, so that when combined, each instrument's shining moment appears from the melange.If you like this original composition, but need it in a slightly different instrumentation for your chamber group, please don't hesitate to contact me at flyingbatonpublications@gmail.com, and I would be more than happy to make any necessary tweaks for you. The four wind instruments were chosen for timbre and range, but many others are also possible.
$19.99
18.33 €
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Colin P
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Peace for Five
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Flying Baton Publications
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SheetMusicPlus
Flying Kites
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1023641 Composed by Ben Ledochowski…
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Piano Solo - Level 5 - Digital Download SKU: A0.1023641 Composed by Ben Ledochowski. 20th Century,Contemporary,New Age. Score. 15 pages. Ben Ledochowski #6217567. Published by Ben Ledochowski (A0.1023641). Flying Kites is a piece that had its start back in the summer of 2019, the summer I left my home and moved across the country for my first year college. The original version was a sort of goodbye letter to my best friend, as well as a thank you to him for helping make me the person I am now. Since then, the piece has gone through several rewrites and evolutions to reach its current form, and I'm more prioud of it now than ever. It's also helped me get accepted into the composition programs at two different universities by being a part of my auditions to both schools and remains to this day my most popular composition, so I figured I should do it justice by uploading it here since more than 2 years have passed since its inception. I hope you enjoy it, and happy playing!
$5.99
5.49 €
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Piano seul
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Ben Ledochowski
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Flying Kites
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Ben Ledochowski
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SheetMusicPlus
Behavioral Science for trombone solo
Trombone
Trombone Solo - Level 5 - Digital Download SKU: A0.987850 Composed by Robert M. Gre…
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Trombone Solo - Level 5 - Digital Download SKU: A0.987850 Composed by Robert M. Greenberg. 20th Century. Individual part. 11 pages. Robert M. Greenberg #90287. Published by Robert M. Greenberg (A0.987850). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 14 minutes Year of composition: 1998 Program Note: Behavioral Science is in five continuous parts: Part 1: Misbehavior/Out of control Part 2: Vulgar Behavior/Gross stuff Part 3: Crisis of Confidence/Whining and whimpering Part 4: Behavior Becoming/Reflection and Introspection Part 5: With Flying Colors/Putting It All Together The initial inspiration for Behavioral Science was as follows: a few years ago, a trombonist friend of mine asked me if I wanted to join him and a few of da boys in attending the premiere of the Beavis and Butthead movie. Whoa. Beavis and Butthead with the low brass; a most stimulating prospect. A previous and, I'm sure, less interesting engagement kept me away, but the formative idea behind Behavioral Science was born: how do you civilize the eternal adolescent that is the trombone/trombonist without taking away its/his/her essential energy and joie de vivre? Behavioral Science, then, is about the trombone and, to a degree, trombone players themselves (which, by the way, I was once one myself and my daughter presently is). The piece begins with the trombone completely out of control - a raucous, screaming, stuttering length of lacquered plumbing. Across the span of the piece the trombone gradually learns lyricism and self-discipline, gaining maturity and, ultimately, self-mastery. Behavioral Science concludes with a series of extremely virtuosic passages that require, as they do, the most exacting control imaginable. Behavioral Science was composed between December, 1997 and February, 1998. It is dedicated with great affection and gratitude to Neil Hatler for his help, advice, and tireless dedication to the piece.
$16.00
14.67 €
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Trombone
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Robert M
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a most stimulating prospect
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Behavioral Science for trombone solo
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Robert M. Greenberg
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SheetMusicPlus
You Sent Me Flying
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1164121 By Amy Win…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1164121 By Amy Winehouse. By Amy Winehouse and Felix Howard. Arranged by John Milne. 20th Century,Contemporary,Hip-Hop,Jazz,R & B. Score and parts. 85 pages. Odd Shoe Music #764472. Published by Odd Shoe Music (A0.1164121). Arrangement for intermediate big band with vocal.Duration - 5m 10sstandard big band line up but has extra parts for flute, 2 clarinets.Will work with or without.TAB part for guitar and TAB part for bass as extras.score in transposed form and in C.
$65.00
59.62 €
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Ensemble Jazz
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Amy Winehouse
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John Milne
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You Sent Me Flying
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Odd Shoe Music
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SheetMusicPlus
I'm Flying
Chorale SSAA
Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.853737 Composed by Mark Ch…
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Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.853737 Composed by Mark Charlap. Arranged by Larry Wright. A Cappella,Barbershop. Octavo. 9 pages. Larry Wright #4604511. Published by Larry Wright (A0.853737). A WOMEN'S 4-part, a cappella, barbershop, non-contest, driving uptune arrangement from the Disney animated movie Peter Pan. This is part of a 5-song medley, but can be performed separately. Quartets and choruses singing at a B- contest level should be able to successfully learn and perform this arrangement making good use of the available excellent part-predominant vocal Learning Trax <www.larrywrightmusic.com>. If you've FIRST purchased my learning trax from my website store... and the sheet music per-copy price on the SMP website is anything more than $1.89, DON'T PAY IT!!! email me <larry@larrywrightmusic.com> for info. NOTE: SMP requires a minimum purchase of 10 copies for all choral selections. Sorry quartets!
$15.00
13.76 €
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Chorale SSAA
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Mark Charlap
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Larry Wright
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for info
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I'm Flying
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Larry Wright
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SheetMusicPlus
Dzidzernag (Ծիծեռնա՛կ) (Swallow), for solo violin (mp3)
Violin - Level 4 - Digital Download SKU: A0.1469167 By Daniel Mihai. By Komitas Var…
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Violin - Level 4 - Digital Download SKU: A0.1469167 By Daniel Mihai. By Komitas Vardapet. Arranged by David Warin Solomons. Contemporary,Multicultural,World. Full Performance. Duration 279. David Warin Solomons #1047187. Published by David Warin Solomons (A0.1469167). Violin solo version of my setting for flute and guitar, based on the folk song of Komitas Vardapet (Կոմիտաս Վարդապետ)Ծիծեռնա՛կ, ծիծեռնա՛կ,Դու` գարնան սիրուն թռչնակ,Դէպի ու՞ր, ինձ ասա,Թռչում ես այդպէս արագ:Ա՜խ, թռի՛ր, ծիծեռնա՛կ,Ծնած տեղս` Աշտարակ,Անդ շինիր քո բոյնըՀայրենի կտուրի տակ:Անդ հեռու ալեւորՀայր ունիմ ես սգաւոր,Որ միակ իւր որդունՍպասում է օրէօր:Դե՛հ, սիրուն ծիծեռնակ,Հեռացի՛ր, թռի՛ր արագԴէպ հայոց երկիրը,Ծնած տեղս` Աշտարակ:ԳԷՈՐԳ ԴՈԴՈԽԵԱՆԳրառումը՝ ԿՈՄԻՏԱՍիSwallow, swallow,You are a beautiful bird in the spring,Where, then, tell me,Are you flying so fast?Oh, jump, swallow,My birthplace: Ashtarak,Build it your ownUnder the roof of the home.And far awayFather, I'm sorry,Which is his only son?Waiting for day out.Well, lovely swallow,Get off, fly quicklyTo the Armenian land,My birthplace is Ashtarak.Performed here by Daniel Mihai.
$5.00
4.59 €
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Daniel Mihai
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David Warin Solomons
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Dzidzernag
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David Warin Solomons
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SheetMusicPlus
You Sent Me Flying
Instruments en Do
C Instrument - Level 3 - Digital Download SKU: A0.1350321 By Amy Winehouse. By Amy …
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C Instrument - Level 3 - Digital Download SKU: A0.1350321 By Amy Winehouse. By Amy Winehouse and Felix Howard. Arranged by Teresa Young. Jazz,Pop,Singer/Songwriter. Lead Sheet / Fake Book. 3 pages. Teresa Young #935111. Published by Teresa Young (A0.1350321). Teresa Young's lead sheet for Amy Winehouse's confessional You Sent Me Flying came about as most do for her, because someone requested it. A young woman with the right voice and attitude wanted to interpret the song, without working from a clunky piano-based arrangement that was the only one she could find. The resulting lead sheet has everything you need, including guitar chord diagrams, and nothing you don't.
$3.99
3.66 €
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Instruments en Do
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Amy Winehouse
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Teresa Young
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You Sent Me Flying
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Teresa Young
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SheetMusicPlus
The Amazing Flying Pickle
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1004951 Composed b…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1004951 Composed by Rob Birdwell. Contemporary. Score and parts. 16 pages. Birdwell Music LLC #4798473. Published by Birdwell Music LLC (A0.1004951). This tune is an original of mine from the 5th and B catalog, a group with Dave Storrs and more. I wrote this shortly after a gig at a local place called Squirrel's where a young woman through a pickle from upstairs. She was aiming for her boyfriend but the rascal managed to avoid her attack, whereby the pickle continued its angry trajectory and hit me rather harmlessly in the shoulder. We were on a band break at the time. The pickle was a mystery. Who had thrown it? Or was it some sort of magical pickle? The mystery was resolved when the young lady heard the band was talking about the amazing pickle and tracked me down to apologize. No harm! And I was inspired to write this little ditty! .
$15.99
14.67 €
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Ensemble Jazz
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Rob Birdwell
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The Amazing Flying Pickle
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Birdwell Music LLC
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SheetMusicPlus
Dzidzernag (Ծիծեռնա՛կ) (Swallow), for solo violin
Violon
Violin Solo - Level 4 - Digital Download SKU: A0.1467020 By Daniel Mihai. By Komita…
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Violin Solo - Level 4 - Digital Download SKU: A0.1467020 By Daniel Mihai. By Komitas Vardapet. Arranged by David Warin Solomons. Contemporary,Folk,Multicultural,World. 2 pages. David Warin Solomons #1045585. Published by David Warin Solomons (A0.1467020). Violin solo version of my setting for flute and guitar, based on the music of Komitas VardapetԾիծեռնա՛կ, ծիծեռնա՛կ,Դու` գարնան սիրուն թռչնակ,Դէպի ու՞ր, ինձ ասա,Թռչում ես այդպէս արագ:Ա՜խ, թռի՛ր, ծիծեռնա՛կ,Ծնած տեղս` Աշտարակ,Անդ շինիր քո բոյնըՀայրենի կտուրի տակ:Անդ հեռու ալեւորՀայր ունիմ ես սգաւոր,Որ միակ իւր որդունՍպասում է օրէօր:Դե՛հ, սիրուն ծիծեռնակ,Հեռացի՛ր, թռի՛ր արագԴէպ հայոց երկիրը,Ծնած տեղս` Աշտարակ:ԳԷՈՐԳ ԴՈԴՈԽԵԱՆԳրառումը՝ ԿՈՄԻՏԱՍիSwallow, swallow,You are a beautiful bird in the spring,Where, then, tell me,Are you flying so fast?Oh, jump, swallow,My birthplace: Ashtarak,Build it your ownUnder the roof of the home.And far awayFather, I'm sorry,Which is his only son?Waiting for day out.Well, lovely swallow,Get off, fly quicklyTo the Armenian land,My birthplace is Ashtarak.Performed here by Daniel Mihai.
$9.00
8.25 €
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Violon
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Daniel Mihai
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David Warin Solomons
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Dzidzernag
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David Warin Solomons
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SheetMusicPlus
Flying For Me
Ukulele
Digital Download SKU: HX.318116 By John Denver. Country,Folk,Pop. Ukulele Chords/Ly…
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Digital Download SKU: HX.318116 By John Denver. Country,Folk,Pop. Ukulele Chords/Lyrics. 3 pages. Published by Hal Leonard - Digital (HX.318116).
$1.99
1.83 €
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Ukulele
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John Denver
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Flying For Me
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Hal Leonard - Digital
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SheetMusicPlus
Flying For Me
Piano seul
By John Denver. Country; Folk; Pop. PNOCHD. 3 pages. Published by Hal Leonard - Digital Sh…
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By John Denver. Country; Folk; Pop. PNOCHD. 3 pages. Published by Hal Leonard - Digital Sheet Music
$1.99
1.83 €
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Piano seul
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John Denver
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Folk
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Flying For Me
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
You Sent Me Flying
Piano, Voix et Guitare
By Amy Winehouse. For piano, voice and guitar (chords only). Pop; Soul. Piano/Vocal/Guitar…
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By Amy Winehouse. For piano, voice and guitar (chords only). Pop; Soul. Piano/Vocal/Guitar. 4 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
4.58 €
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Piano, Voix et Guitare
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Amy Winehouse
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Soul
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You Sent Me Flying
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Take Me Home, Country Roads
Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.851213 By John Denver. …
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Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.851213 By John Denver. By Bill Danoff, John Denver, and Taffy Nivert. Arranged by Dan Jones www.danjonesguitarist.com. Rock. Score and parts. 34 pages. DanJonesGuitarist #6700853. Published by DanJonesGuitarist (A0.851213). Take Me Home, Country Roads - As sung by John Denver Arranged for Easy Guitar Quartet by Dan Jones www.danjonesguitarist.com In response to feedback from guitar teachers, a single download contains: · A full score in notes and TAB · A full score in notes only · All parts in notes and TAB · All parts in notes only This arrangement is designed to be flexible and to suit a range of abilities. The standard is suitable for early-intermediate players, with guitar 3 being playable by first year students. Guitar four has an easy right-hand picking pattern, with chord symbols provided for assistance, or for those who wish to accompany by strumming chords.Left hand fingering is provided within the parts where appropriate. A YouTube video link will be added to this page in mid-February 2022.Take Me Home, Country Roads is John Denver’s beautiful, iconic song, released in 1971. It became certified platinum in 2017 with a new generation of listeners enjoying digital downloads. The song inspires feelings of nostalgia and longing in the listener and is a firm favourite of travellers around the world, from wherever they come. John Denver was a brilliant songwriter, activist and poet. He died in 1997 in a flying accident at the age of just 53. For a huge range of music for guitar solo, guitar ensemble, writings and teaching material, please visit www.danjonesguitarist.com
$9.95
9.13 €
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John Denver
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Dan Jones www
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Take Me Home, Country Roads
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DanJonesGuitarist
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SheetMusicPlus
I HAVE RIDDEN THE WINGS OF THE DAWN - For Soprano/Tenor and Organ
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.724431 Composed by Renato Tagliabue. C…
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Piano,Vocal,Voice - Digital Download SKU: A0.724431 Composed by Renato Tagliabue. Christian,Contemporary,Sacred,Spiritual. Score. 4 pages. Renato Tagliabue #3883345. Published by Renato Tagliabue (A0.724431). I have ridden the wings of the dawn looking for a place to lie my heart to rest, flying over seas and hills I found your splendid home. How could I explain what I felt when I saw your light, when I heard you calling my poor self. I feel your spirit looking after my lonely soul, I know your head is placed on my troubled head; I hear your voice: it's as sweet as a dream. Please don't let me lose my way hold me within your light. How could I close my heart to your blessed charity? Stars and skies tell me of your loving harmony. I see your love in the brightness of the moon; darkness will fade away the sun will shine over me.
$6.50
5.96 €
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Piano, Voix
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Renato Tagliabue
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I HAVE RIDDEN THE WINGS OF THE DAWN - For Soprano/Tenor and Organ
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Renato Tagliabue
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SheetMusicPlus
I HAVE RIDDEN THE WINGS OF THE DAWN - For SATB Choir and Organ
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.724428 Composed by Renato Tagliabue.…
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Choral Choir (SATB) - Digital Download SKU: A0.724428 Composed by Renato Tagliabue. Christian,Contemporary,Sacred,Spiritual. Octavo. 6 pages. Renato Tagliabue #3883341. Published by Renato Tagliabue (A0.724428). I have ridden the wings of the dawn looking for a place to lie my heart to rest, flying over seas and hills I found your splendid home. How could I explain what I felt when I saw your light, when I heard you calling my poor self. I feel your spirit looking after my lonely soul, I know your head is placed on my troubled head; I hear your voice: it's as sweet as a dream. Please don't let me lose my way hold me within your light. How could I close my heart to your blessed charity? Stars and skies tell me of your loving harmony. I see your love in the brightness of the moon; darkness will fade away the sun will shine over me.
$6.50
5.96 €
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Chorale SATB
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Renato Tagliabue
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I HAVE RIDDEN THE WINGS OF THE DAWN - For SATB Choir and Organ
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Renato Tagliabue
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SheetMusicPlus
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