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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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Gin and Pentatonic Melody
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Gin and Pentatonic Melody
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1187020 Composed by Neille Williams…
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Piano Solo - Level 2 - Digital Download SKU: A0.1187020 Composed by Neille Williams. New Age,Romantic Period. Score. 2 pages. Neille Williams #786649. Published by Neille Williams (A0.1187020). Easy-medium solo for piano. This pretty song in 9/8 time features a lilting, tipsy melody built on the notes of a pentatonic scale. Let your right hand float up to the clouds while the left hand keeps things nice and steady.
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Piano seul
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Neille Williams
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Gin and Pentatonic Melody
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Neille Williams
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.01 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Carson Cooman: Sonata for Tuba and Piano (2007)
Tuba et Piano
Piano,Tuba - Level 5 - Digital Download SKU: A0.533704 Composed by Carson Cooman. C…
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Piano,Tuba - Level 5 - Digital Download SKU: A0.533704 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and part. 38 pages. Musik Fabrik Music Publishing #3039001. Published by Musik Fabrik Music Publishing (A0.533704). Sonata for Tuba and Piano (2007) was commissioned by and is dedicated to tubist MarkNelson for premiere at the 2007 Southwest Tuba and Euphonium Conference. The work isin three movements, each using the same basic musical material. Throughout the work,there is an integration of the total chromatic spectrum (represented through row-likeconstructions) with triadic and tonal elements, particularly connected to the interval of aminor third.The first movement, Speaking of Sunsets, is bold and dramatic throughout. The musicalmaterial is subjected to a series of circular paths that loop back on themselves until themovement ends. (The title refers to American poet James Tate’s poem Never Again theSame and also Charles Wuorinen’s musical setting of that text.)The second movement, Build Me a Garden, takes its title from an original song I overheardwhile planning this work. It sung by a homeless man who was then sitting on the banks ofthe Charles River in Boston, Massachusetts. His song (bearing both textual and musicalresemblance to various folk songs and African-American spirituals) spoke of hopes anddreams:Build me a garden, far ‘cross the seaBuild me a garden, a place I can beThe water is wide, the journey is long.I’ve put all my sorrows into this song.The movement opens with a slightly modified version of the song, which is developed overthe course of the movement. Connections are made between the first movement’s materialand the pentatonic melody (with its opening intervals of minor thirds).The third movement, Rising at Dawn, is a moto perpetuo. The ideas from both previousmovements are put together in new, dancing combinations. Coming out of the darker firsttwo movements, this movement continually seeks places of joy. The dance breaks down,and a recollection of the first movement leads to a bright coda.
$25.95
23.8 €
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Tuba et Piano
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Carson Cooman
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Carson Cooman: Sonata for Tuba and Piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Adventurer, The: Suite for Eb Alto Saxophone and Piano
Saxophone Alto
Alto Saxophone Solo - Level 3 - Digital Download SKU: A0.726449 Composed by Kenneth…
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Alto Saxophone Solo - Level 3 - Digital Download SKU: A0.726449 Composed by Kenneth Baird. 20th Century,Concert,Contemporary,Standards. Individual part. 10 pages. Kenneth Baird Music #6440745. Published by Kenneth Baird Music (A0.726449). The Adventurer: Suite for Eb Alto Saxophone and Piano, by Kenneth Baird, is a short (3:40) three-movement work in a bold contemporary style. The first movement is a joyful allegro that is filled with syncopation, harmonic surprises, and echoes of Gershwin and Bernstein. The second movement is an adagio that begins peacefully, adds a little more motion with a pentatonic melody, and then returns to a peaceful mood, concluding with a harmonic question. The suite then concludes with a lively and spirited dance-like allegro that alternates between 3/4 and 6/8, and may, for some, invoke images of a pirate-like nautical adventure, while also sounding somewhat like a Latin American dance tune. Requiring good technical agility and security with syncopated rhythms, the Adventurer: Suite for Eb Alto Saxophone is a refreshing change from the standard contest repertoire written for this intermediate level and will be a delight both for the performers (soloist and accompanist) and for the listener. An alternative, less technically challenging ending is provided for less-advanced performers. The composer notes that although the Adventurer was originally composed for trumpet, he feels it works equally well on the alto saxophone and that the saxophone version should not be construed as a lesser version than the original trumpet version. Great for performances at solo contests/competitions as well as at recitals. .
$4.99
4.58 €
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Saxophone Alto
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Kenneth Baird
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Adventurer, The: Suite for Eb Alto Saxophone and Piano
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Kenneth Baird Music
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SheetMusicPlus
Remembrance for Violin and Piano
Violon et Piano
Piano,Violin - Level 5 - Digital Download SKU: A0.1031221 Composed by David Tsai. C…
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Piano,Violin - Level 5 - Digital Download SKU: A0.1031221 Composed by David Tsai. Contemporary,Film/TV,Holiday,Romantic Period,World. 9 pages. Celestial Music Publishing, LLC #3035583. Published by Celestial Music Publishing, LLC (A0.1031221). This piece is for violin solo and piano. A graceful melody based on the pentatonic scale, it recollects things from the past. In the middle, the music begins to be more agitated with several modulations. As the music ends, it returns to the beginning theme with a violin and piano duet. This piece is good for any kind of events to express personal's life.
$6.99
6.41 €
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Violon et Piano
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David Tsai
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Remembrance for Violin and Piano
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Celestial Music Publishing, LLC
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SheetMusicPlus
Sight-Singing 2
Voice - advanced to difficult - Digital Download SKU: S9.Q19478 A fresh approach…
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Voice - advanced to difficult - Digital Download SKU: S9.Q19478 A fresh approach. This edition: method. Schott Sight-Reading Series. Dieser Band baut auf Vom-Blatt-Singen 1 auf und führt die ersten Aspekte des Vom-Blatt-Singens mittels genauen Erkennens von Rhythmus und Tonhöhe fort. Downloadable, Textbook. Op. 2. Schott Music - Digital #Q19478. Published by Schott Music - Digital (S9.Q19478). English • French • German.This book sets out to build on the initial aspects of singing at sight in reading both the rhythm and pitch accurately, as begun in Sight-Singing 1. Sight-Singing 2 is divided into two parts. Part 1 comprises 95 exercises in either single or 2-part form. These cover methods to secure the line of the pitch, sequences, singing a lower part, ties, awareness of chord structure, canons, chromatic movement, modulations and tone rows. A section of 2-part exercises is also included using treble and bass clefs. Part 2 consists of 16 solo pieces which are presented in the treble clef, and aim to develop the singer’s ability to pitch independently from their accompaniment. These short pieces are based on chords, intervals, the Dorian mode, pentatonic scales, melodic minor scales, chromatic movement and changing time signatures. The aim of this volume is to develop a secure sense of pitch, providing a comprehensive range of styles and challenges which will be of value not just to singers but to all dedicated musicians. The skill of being able to ‘vocalise’ a melody independently and accurately is a valuable asset for all musicians regardless of vocal ability or instrument played. The ability to ‘hear’ a phrase before it is sung or played is especially useful. - 95 solo/2-part exercises - 16 accompanied solos - 1 wide range of challenging styles - valuable both to singers and instrumentalists.
$12.99
11.92 €
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Sight-Singing 2
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Schott Music - Digital
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SheetMusicPlus
Moonrhymes (for 3 violins, viola and piano)
Piano Trio: Violon, Alto, Piano
Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.1205111 Composed by Gilad C…
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Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.1205111 Composed by Gilad Cohen. Chamber,Classical,Contemporary. 217 pages. Gilad Cohen #803298. Published by Gilad Cohen (A0.1205111). Written with the theme of family in mind, Moonrhymes is based on nursery rhymes from different cultures. The piece is comprised of three movements (, in addition to an introduction and a finale, all played without a break): each of them focuses on a traditional song from a different origin: the English-Irish “Danny Boy,†the Latin “A La Nanita Nana,†and the Israeli-Yiddish “Numi Numi.† While such tunes have been sung as lullabies for many years, their lyrics are often more bleak than what might seem appropriate for bedtime. My treatment of these melodies takes them thus to mysterious, reflective, and dark places, using folk elements from various cultures. Moonrhymes plays with the question of what rhyming could mean in instrumental music.  Literal rhymes feature similarities in sound between words: the endings of rhyming words usually sound identical, while the beginnings are different.  Likewise, the themes of the piece are very similar to the original tunes, but each carries a significant musical difference in pitch, rhythm etc.  Additionally, many moments in the piece “rhyme†with one another:  Accompaniment figurations reoccur while supporting different tunes (such as a repeated arrpegiated minor-7th chord), sounds and textures repeat through the piece (such as “glassy†chordsin the violins using harmonics), and musical themes float again and again into the surface (such as the melody of “Rock-a-bye Baby,†another popular lullaby that features disturbing lyrics and serves as a transition between the movements).In the finale, all tunes—and cultures—join together: The Yiddish-based “Numi Numiâ€, with its Phyrygian mode, is heard in the bass and provides the foundation for “Danny Boy†an its iconic English-American useof the pentatonic scale, while also supporting figurations from both “Nanita†(featuring a highly-embellished minor-scale Spanish melody) and “Rock-a-bye Baby†(whose sweet melody is disguised under darker harmonies).
$20.00
18.35 €
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Piano Trio: Violon, Alto, Piano
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Gilad Cohen
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Moonrhymes
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Gilad Cohen
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SheetMusicPlus
Lullaby Variation (For Cello and Piano)
Violoncelle, Piano
Cello,Piano - Level 4 - Digital Download SKU: A0.511813 Composed by Han-Ki Kim. Chi…
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Cello,Piano - Level 4 - Digital Download SKU: A0.511813 Composed by Han-Ki Kim. Children,Contemporary,Multicultural,Standards,World. Score and part. 13 pages. Han-Ki Kim #6600115. Published by Han-Ki Kim (A0.511813). The theme of the original song Byeoljigi composed by Junhee Lim consists of a 16-bar melody, but this composer rearranged it to a 16-bar melody. the Korean pentatonic scale “Doremisola†is mostly used for the the melody. The overall framework is an introduction/theme and three variations/cadenza/finale/end. Through the theme, it creates a musical updraft until the second variation, and in the third variation, there is a relaxed atmosphere, and then a cadenza singing a conversation between a mother singing a lullaby and a baby enjoying in her dreams. The figure of the mother is the theme melody played with the G string, and the figure of the child is the cheerful high notes composed of the first five notes of the theme, “Mi re Do Re mi.†It then ends with a brilliant finale and a short ending. Attached music file is recorded by Violin, it's just for a referrence.
$5.20
4.77 €
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Violoncelle, Piano
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Han-Ki Kim
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Lullaby Variation
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Han-Ki Kim
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SheetMusicPlus
Longing for Love - 望春风 - A Chinese classic song describing a girl pining for love
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1389645 Composed by Chinese Folk So…
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Piano Solo - Level 4 - Digital Download SKU: A0.1389645 Composed by Chinese Folk Song. Arranged by Thomas Ling of Sibu. 20th Century,Folk,Multicultural,Pop,World. Score. 6 pages. Thomas Swee Chin #973241. Published by Thomas Swee Chin (A0.1389645). A beautiful melody written with pentatonic notes : do re mi sol La, but harmonised in a modern fashion with chromatic notes and 'juicy' harmony. 80 years ago, Taiwanese society was bound by feudal ethics, women were only reproductive tools, expressing and pursuing personal emotions was a transgression, and flowery girls could only bear the fate of tools silently until they grew old and died.  The lyric writer was a teenager in Taipei at that time, he wanted to ï¬ght for the right to speak for the girls, so he wrote the song “Longing for spring/love.
$7.80
7.15 €
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Piano seul
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Chinese Folk Song
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Thomas Ling of Sibu
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Longing for Love - 望春风 - A Chinese classic song describing a girl pining for love
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Thomas Swee Chin
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SheetMusicPlus
Jesus Loves Me
1 Piano, 4 mains
1 Piano,4 Hands,Piano Duet - Level 1 - Digital Download SKU: A0.1460529 Composed by…
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1 Piano,4 Hands,Piano Duet - Level 1 - Digital Download SKU: A0.1460529 Composed by William B. Bradbury. Arranged by Jo Hovind. Children,Christian,Instructional,Praise & Worship,Sacred. Score. 9 pages. Jo Notes, LLC #1039454. Published by Jo Notes, LLC (A0.1460529). Jesus Loves MePublic Domain | Words by Anna Warner (1820-1915) | Music by William Bradbury (1816-1868) | © 2023 Arrangement by Jo Hovind | Jo Notes LLC, Pensacola, FLDetailed Description:Piano Duet, 4 Hands at One Piano - Student Pre-Reader Black Keys with Finger Numbers, Teacher Advanced - Digital Download.Jesus Loves Me | Words by Anna Warner (1820-1915), Music by William Bradbury (1816-1868) | Arranged and Published by Jo Hovind, Jo Notes, LLC, Pensacola, Florida | Praise & Worship. Score - 5 pages. A Note from the Arranger:Pre-Reader on the Black Keys by Finger NumbersTeacher Duet in Gb Major One of the most beloved and most translated children’s hymns of all time can be played by finger numbers on the black keys. The singable, pentatonic melody is beautiful even in its own simplicity. But when combined with lush harmonies of the teacher duet, this beginner piece becomes a heart-warming show-stopper for recitals, Sunday School, nursing home, and church performances.Teaching Idea: Remembering which hand plays which notes (left and right) can be very challenging for beginning students. The notes for the student part in this arrangement have blue note heads for right hand notes, and green note heads for left hand notes. Purchase a blue and a green athletic wrist band. Put the blue one on the student’s right wrist (because the blue sky is high and the right hand plays the higher notes), and place the green wrist band on the student’s left hand (because the green grass is down low and the hand plays the lower notes.) Then the single three white key notes that the hands must MOVE to play have red note heads.
$4.99
4.58 €
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1 Piano, 4 mains
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William B
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Jo Hovind
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Worship
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Jesus Loves Me
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Jo Notes, LLC
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SheetMusicPlus
Come, Ye Poor and Needy - SATB Ensemble
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1144868 Composed by Joseph…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1144868 Composed by Joseph Hart. Arranged by Mark R Lewis. A Cappella,Folk,Religious,Sacred. Octavo. 15 pages. Mark R Lewis #745186. Published by Mark R Lewis (A0.1144868). Better known by it's longer title Come, Ye Sinners, Poor and Needy, the text for this hymn was written by Joseph Hart in the mid-1700s. The text is thought to be loosely based on his conversion to Christianity. One of the most common tunes to be associate with the text is Restoration, sometimes known as Arise. This pentatonic tune comes from the Southern Harmony collection. This a cappella arrangement by Mark Lewis passes the melody between all four voice parts with key changes that place the melody nicely within every vocal range. Alternating between arpeggiating and homophonic accompaniment, this arrangement provides a wide variety of singing experiences for the choir over the course of the song.
$1.99
1.83 €
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Chorale SATB
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Joseph Hart
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Mark R Lewis
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Come, Ye Poor and Needy - SATB Ensemble
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Mark R Lewis
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SheetMusicPlus
Come, Ye Poor and Needy - TTBB Ensemble
Chorale TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1144871 Composed by Joseph…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1144871 Composed by Joseph Hart. Arranged by Mark R Lewis. A Cappella,Folk,Religious,Sacred. Octavo. 15 pages. Mark R Lewis #745189. Published by Mark R Lewis (A0.1144871). Better known by it's longer title Come, Ye Sinners, Poor and Needy, the text for this hymn was written by Joseph Hart in the mid-1700s. The text is thought to be loosely based on his conversion to Christianity. One of the most common tunes to be associate with the text is Restoration, sometimes known as Arise. This pentatonic tune comes from the Southern Harmony collection. This a cappella arrangement by Mark Lewis passes the melody between all four voice parts with key changes that place the melody nicely within every vocal range. Alternating between arpeggiating and homophonic accompaniment, this arrangement provides a wide variety of singing experiences for the choir over the course of the song.
$1.99
1.83 €
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Chorale TTBB
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Joseph Hart
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Mark R Lewis
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Come, Ye Poor and Needy - TTBB Ensemble
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Mark R Lewis
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SheetMusicPlus
Lullaby Variation (For Viola and Piano)
Alto, Piano
Instrumental Solo,Piano,Viola da gamba - Level 4 - Digital Download SKU: A0.1129054…
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Instrumental Solo,Piano,Viola da gamba - Level 4 - Digital Download SKU: A0.1129054 Composed by Jun-Hee Lim. Arranged by Han-Ki Kim. Children,Classical,Contemporary,Instructional,Romantic Period. Score and individual part. 12 pages. Han-Ki Kim #729579. Published by Han-Ki Kim (A0.1129054). Adapted melodie for this music is the theme of the art song Star Keeper(Poem by “Gye-seok Takâ€) composed by “Junhee Limâ€. So far, melodic line is concerned, mostly the Korean pentatonic scale “Do re mi so la†is used. The overall framework is an introduction/theme and three variations/cadenza/finale/end. Through the theme, it creates a musical updraft up to the second variation, and in the third variation, a relaxed atmosphere, and then a cadenza singing a conversation between a mother who sings a lullaby and a baby who is enjoying her dream comes out. The figure of the mother is the theme melody played with the G string, and the figure of the child is the cheerful high notes composed of the first five notes of the theme, “Mi Re Do Re Mi.†It then ends with a brilliant finale and a short conclusion. Attached Music file and Shown YouTube Link(Fast-forward to 25:55) is played by Vn and Piano, it's just jor a reference.
$5.20
4.77 €
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Alto, Piano
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Jun-Hee Lim
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Han-Ki Kim
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Lullaby Variation
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Han-Ki Kim
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SheetMusicPlus
Lullaby Variation (For Cello and Strings)
String Ensemble Cello - Level 4 - Digital Download SKU: A0.1129072 Composed by JunH…
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String Ensemble Cello - Level 4 - Digital Download SKU: A0.1129072 Composed by JunHee Lee. Arranged by Han-Ki Kim. Chamber,Children,Classical,Instructional,Romantic Period. 28 pages. Han-Ki Kim #729598. Published by Han-Ki Kim (A0.1129072). Adapted melodie for this music is the theme of the art song Star Keeper(Poem by “Gye-seok Takâ€) composed by “Junhee Limâ€. So far, melodic line is concerned, mostly the Korean pentatonic scale “Do re mi so la†is used. The overall framework is an introduction/theme and three variations/cadenza/finale/end. Through the theme, it creates a musical updraft up to the second variation, and in the third variation, a relaxed atmosphere, and then a cadenza singing a conversation between a mother who sings a lullaby and a baby who is enjoying her dream comes out. The figure of the mother is the theme melody played with the G string, and the figure of the child is the cheerful high notes composed of the first five notes of the theme, “Mi Re Do Re Mi.†It then ends with a brilliant finale and a short conclusion. Attached Music file is played by Violin and Piano, it's just jor a reference.
$14.50
13.3 €
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JunHee Lee
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Han-Ki Kim
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Lullaby Variation
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Han-Ki Kim
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SheetMusicPlus
Lullaby Variation (For Violin and Strings)
String Ensemble Violin - Level 4 - Digital Download SKU: A0.1129077 Composed by Jun…
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String Ensemble Violin - Level 4 - Digital Download SKU: A0.1129077 Composed by Jun-Hee Lim. Arranged by Han-Ki Kim. Chamber,Children,Classical,Instructional,Romantic Period. 28 pages. Han-Ki Kim #729603. Published by Han-Ki Kim (A0.1129077). Adapted melodie for this music is the theme of the art song Star Keeper(Poem by “Gye-seok Takâ€) composed by “Junhee Limâ€. So far, melodic line is concerned, mostly the Korean pentatonic scale “Do re mi so la†is used. The overall framework is an introduction/theme and three variations/cadenza/finale/end. Through the theme, it creates a musical updraft up to the second variation, and in the third variation, a relaxed atmosphere, and then a cadenza singing a conversation between a mother who sings a lullaby and a baby who is enjoying her dream comes out. The figure of the mother is the theme melody played with the G string, and the figure of the child is the cheerful high notes composed of the first five notes of the theme, “Mi Re Do Re Mi.†It then ends with a brilliant finale and a short conclusion. Attached Music file is played by Violin and Piano, it's just jor a reference.
$14.50
13.3 €
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Jun-Hee Lim
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Han-Ki Kim
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Lullaby Variation
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Han-Ki Kim
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SheetMusicPlus
Come, Ye Sinners, Poor and Needy
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.828221 Composed by B.F. White. Arra…
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Piano Solo - Level 4 - Digital Download SKU: A0.828221 Composed by B.F. White. Arranged by Paul Thurmond. 20th Century,Christian,Sacred. Score. 6 pages. Paul Thurmond #4968885. Published by Paul Thurmond (A0.828221). Tune: BEACH SPRINGUse: Prelude, Offertory, CommunionBeach Spring is a tune that has many texts associated with it. Come, Ye Sinners, Poor and Needy is my favorite of them. The melody is from The Sacred Harp, and it’s pentatonic. That means that it only uses the 1st, 2nd, 3rd, 5th, and 6th notes of the major scale. In the middle section of my arrangement, I tried an experiment: could I change the overall feel to minor while preserving the original melody notes? You can listen to the results yourself.
$4.99
4.58 €
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Piano seul
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B
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Paul Thurmond
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Come, Ye Sinners, Poor and Needy
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Paul Thurmond
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SheetMusicPlus
Notturno in Gb Major of Ottorino Respighi
Piano seul
Composed by Respighi, O. Arranged by Michael Bomier. Concert, Romantic Period, Standard…
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Composed by Respighi, O. Arranged by Michael Bomier. Concert, Romantic Period, Standards. Score. 9 pages. Michael Butkus-Bomier #3622741. Published by Michael Butkus-Bomier
Notturno is simply "nocturne" with an Italian aroma. Bella Vita, eh! Many concert works in the standard repertoire are placed in keys with five flats of sharps or more, as this piece illustrates. The reason for this is not mere "virtuosity" or even intellectual hubris. The black-keys afford an access to many kinds of gestures that alternate between the black and white keys, for two hands, in a way that placement in C, F or G simply do not provide. Having the hands in and up over the black keys affords, as in this case, an easy alternation between an upper and lower hand gesture, without having to be in the same keyplane. Why are the black keys easier for this, you might ask, since they are ALSO in a uniform plane? The white keys have no diatonic gaps, but the black keys, forming a pentatonic scale with two gaps, does indeed afford just such a place to place these sorts of piano-drumming gestures. The main distinguishing feature of our setting here is the elimination of this top melody tone, which dies so fast,and yet in standard editions gets smeared across the top of many lines like excess frosting that has already been eaten. Our edition shows when each gesture begins, and does NOT emphasize how long these drawn-out single tones last, over the accompaniment. Spellings are better, and pedaling is included throughout, rather than left to laissez-faire. 10ths are often used here, and are shown are arpeggiandi throughout. The MIDI file playback here does not really convey how much rubato can be applied to this piece, in a most musical and entertaining way, as the composer intended. MBB.
$4.25
3.9 €
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Piano seul
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Respighi, O
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Michael Bomier
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Notturno in Gb Major of Ottorino Respighi
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Michael Butkus-Bomier
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SheetMusicPlus
Si, no, forse... (yes, no, maybe...) for 2 cellos
Violoncelle (partie séparée)
Cello Solo - Level 1 - Digital Download SKU: A0.873640 Composed by Andrea Rellini. …
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Cello Solo - Level 1 - Digital Download SKU: A0.873640 Composed by Andrea Rellini. Children,Contemporary,Instructional,World. Individual part. 5 pages. Andrea Rellini #4792049. Published by Andrea Rellini (A0.873640). A very easy piece for two beginner cellists, built on a pentatonic melody.
$2.99
2.74 €
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Violoncelle (partie séparée)
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Andrea Rellini
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Si, no, forse...
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Andrea Rellini
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SheetMusicPlus
Oh Depth of Riches
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1079941 Composed by R…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1079941 Composed by Robert E. Benton, Jr. Multicultural,Praise & Worship,Sacred,Spiritual,Traditional,World. Score. 2 pages. Robert E. Benton, Jr. #684159. Published by Robert E. Benton, Jr. (A0.1079941). This hymn is based on the ancient hymn from Romans 11:33-36, which Paul uses to marvel at how God’s ways are beyond us. The hymn provides the only rational response to the LORD’s words in Isaiah 55:8 (“For my thoughts are not your thoughts, neither are your ways my ways, saith the LORDâ€). The words of the hymn are expressed in the Japanese poetic form of Tanka (which includes the well-known Haiku form as its first three lines). To match the mood of the Tanka form, the words are set to a pentatonic melody and fully pentatonic harmony. The hymn is in SATB piano score (hymn) format for congregational singing, choral singing, ensemble, or solo; whether acapella, or with piano accompaniment. For more information… Website: https://TRUSTHYMN.wordpress.com Email: TRUSTHYMN@yahoo.com Facebook: https://www.facebook.com/TrustHymn Instagram: https://www.instagram.com/trust_hymn/.
$2.99
2.74 €
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Piano, Voix et Guitare
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Robert E
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Oh Depth of Riches
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Robert E. Benton, Jr.
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SheetMusicPlus
Beach Spring — trombone, piano, opt. flute
Trombone et Piano
Piano,Trombone - Level 3 - Digital Download SKU: A0.1089531 Composed by B.F. White.…
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Piano,Trombone - Level 3 - Digital Download SKU: A0.1089531 Composed by B.F. White. Arranged by Todd Marchand. Folk,Sacred,Traditional. Score and part. 7 pages. Con Spirito Music #693741. Published by Con Spirito Music (A0.1089531). BEACH SPRING is a hymn tune attributed to Benjamin Franklin White (1800-1879), co-editor of The Sacred Harp shape-note hymnal, where the tune was published in 1844. Paired there with a text beginning Come, ye sinners, poor and needy, it has served as accompaniment for various other hymn texts since.Although attributed to White, the pentatonic tune (comprising five notes — degrees 1, 2, 3, 5, and 6 of the major scale) is likely of folk origin. In this arrangement, the tune is presented three times: first by trombone with piano accompaniment; next by flute and piano; and after a modulation up one step, by trombone and piano in a new harmonization with descending chromatic bass line.An ideal choice for offertory or communion solo, BEACH SPRING may be performed by trombone and piano alone, as the flute melody in the second verse is present in the piano as well.©Copyright 2020 Todd Marchand / Con Spirito Music. Visit www.conspiritomusic.com
$6.00
5.5 €
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Trombone et Piano
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B
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Todd Marchand
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next by flute and piano
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Beach Spring — trombone, piano, opt. flute
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Con Spirito Music
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SheetMusicPlus
CHIN JING (I WANT TO BE NEAR YOU)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1415781 By ROBERT VAN HORNE. By ROB…
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Piano Solo - Level 4 - Digital Download SKU: A0.1415781 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Film/TV,Instructional,Multicultural,New Age,Romantic Period,World. Score. 6 pages. White Piano International Publishing #993621. Published by White Piano International Publishing (A0.1415781). CHIN JING (I WANT TO BE NEAR YOU) (Original Piano Music) from “CHINA LOVEâ€Composed and Arranged by Robert Van Horne in 1993Advanced Intermediate Piano Solo6 pagesDuration approximately 4:30CHIN JING (I WANT TO BE NEAR YOU) stands out as the sole composition in the CHINA LOVE album not originating from Singapore. Upon my return to California in 1989, I felt compelled to add one more piece to complete the collection of ten. My aim was to curate an album featuring ten piano compositions in the evocative style of Chinese music, aptly named “CHINA LOVE.â€The term CHIN JING, when spoken phonetically in Mandarin with the appropriate accents, translates to I Want To Be Near You. This invented phrase seemed fitting as the title for this particular piece, drawing inspiration from the theme of romantic love prevalent in many traditional Chinese melodies.CHIN JING (I WANT TO BE NEAR YOU) employs open fifths introducing the sostenuto pedal for an echoing effect, followed by a pentatonic melody that infuses the piece with its essence.The sheet music is meticulously notated, providing clear instructions on dynamics, articulation, phrasing, pedal usage, chord symbols, suggested fingerings, and relevant musical terminology.Suitable for advanced intermediate students, professional pianists, and piano instructors alike, this arrangement offers a rewarding musical experience.Although this mp3 audio sample featuring additional background instruments remains incomplete, the full rendition of CHIN JING (I WANT TO BE NEAR YOU) can be enjoyed on Robert’s “CHINA LOVE†album.For those interested in an EARLY INTERMEDIATE PIANO arrangement of the entire collection TEN MUSICAL THEMES FROM ‘CHINA LOVE  can be obtained through:SHEET MUSIC PLUSSHEET MUSIC DIRECTPublished by White Piano International PublishingRobert is a member of ASCAPWebsite: www.robertvanhorne.comEmail: rvh@robertvanhorne.com.
$2.99
2.74 €
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Piano seul
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ROBERT VAN HORNE
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CHIN JING
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White Piano International Publishing
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SheetMusicPlus
The Ho-Oh Bird
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.1291548 Composed by Pedro Abreu. 21st C…
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Guitar - Level 1 - Digital Download SKU: A0.1291548 Composed by Pedro Abreu. 21st Century,Children,Contemporary,Easter,Instructional. Guitar Tab. 1 pages. All Music #882185. Published by All Music (A0.1291548). The Ho-Oh Bird is an easy-to-learn and uplifting guitar composition by Pedro Abreu. This beginner-friendly piece is written in the key of E minor (pentatonic) and uses only the second finger of the left hand for the entire composition.The composition is written in staff notation with added TAB, making it easy to learn for beginners who still struggle with sight-reading. Inspired by the mythological bird of fire and rebirth in Japanese culture, the Ho-Oh Bird has a lively tempo and sounds a bit oriental because of the pentatonic nature of the melody.According to legend, the Ho-Oh is a sign of good luck. Its appearance is said to bring happiness and prosperity to those who see it. This makes The Ho-Oh Bird a great choice for anyone who is looking for a piece of music that will bring them joy.
$4.00
3.67 €
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Guitare notes et tablatures
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Pedro Abreu
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The Ho-Oh Bird
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All Music
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SheetMusicPlus
Seven Steps To Heaven (2002) for string septet or string orchestra
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 4 - Digital Download …
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.869690 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz. Score and parts. 40 pages. Thomas Oboe Lee #5982647. Published by Thomas Oboe Lee (A0.869690). Seven Steps To Heaven was composed for the Terezin Chamber Music Foundation/Project STEP Summer Education Collaborative in the Berkshires. The work, scored for seven string instruments †2 violins, 2 violas, 2 cellos & contrabass, is in seven sections: four movements with three interludes in between.Moderato, Humble Vale Interlude IFunk ScherzoInterlude IIBossa nova Interlude III Perpetuo motoWhen Mark Ludwig, Director of the Terezin Chamber Music Foundation, told me that Seven Steps would be premiered at the Hancock Shaker Village, I thought it would be most appropriate to use a Shaker tune as a source for this work.The work begins with Humble Vale. Humble Vale is part of the Hancock Hymnal: 1850 compiled by Deborah Rentz Moore.The most obvious element in this beautiful melody is the predominance of the pentatonic mode. The Funk Scherzo movement is a dissertation on pentatonic subsets: major seconds, minor thirds and perfect fourths. The Bossa nova movement, although not pentatonic melodically, is full of chords derived pentatonically: chords stacked in fourths, for example. The last movement, Perpetuo moto, is most definitely pentatonic in its theme: an incessant repeating figure with explosive pentatonic flurries of major seconds, minor thirds and perfect fourths.In between the four movements I have inserted three interludes. Interlude I is an interlocking pair of waltzing pentatonic melodies for two violins. Interlude II is a solemn march on an Fâ€sharp pedal. Interlude III is a quasiâ€canonic descending scale that resolves into a big Gâ€flat major chord. It is my intention that these interludes provide a smooth and slithery connection from one movement into the next. Enjoy!!!The work is dedicated to Miles Davis. His 1963 LP/CD Seven Steps To Heaven is a seminal recording for all music lovers. It made a huge impression on me when I was a teenager in São Paulo, Brazil. I must have listened to it a thousand times. I know every solo by heart. Heaven is Miles’ domain.
$9.99
9.16 €
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Thomas Oboe Lee
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Seven Steps To Heaven
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Thomas Oboe Lee
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SheetMusicPlus
Auld Lang Syne
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.1162362 Composed by Traditional Scottis…
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Guitar - Level 1 - Digital Download SKU: A0.1162362 Composed by Traditional Scottish Folk. Arranged by Brian Streckfus. Celtic,Folk,Holiday,Instructional,Irish,Traditional. Guitar Tab. 2 pages. Brian Streckfus #762722. Published by Brian Streckfus (A0.1162362). 1. Arranged for guitar. 2. Guitar TAB added. 3. Re-harmonized to be idiomatic for guitar and have more adventerous harmony. 4. Grace notes added.5. The grace notes, uncommon harmony, and overly drenched G major pentatonic sound lead to a more Irish/Celtic/Scottish idiom, as if this was written for bag pipes. 6. Too many versions of public domain songs will just phone in the chords in my opinion with a I IV and V7. This version is a bit jazzed up, which may not be what you looking for. If you are looking for real basic accompianiment this isn't the version for you, though I do try to use as many open strings on the guitar as possible, and the chords are often small.7. The other problem I often see with public domain songs is that the famous cowboy guitar chords most versions use lead to a lot of clunky part writing in my opinion (no thought of tendency tones, no thought of smooth voice leading, parralel 8ves and 5ths, doubled 3rds, etc). Those voicings are easier to sight-read, but are also not super creative, and as a teacher, I don't exactly want a student to see the same G Major voicing forever. That gives this false impression that that G major vocing is somehow superior. 8. Another small issue I see with public domain songs is that the vocal melody is sometimes not in the famous cowboy guitar chord. There is nothing wrong with that, and sometimes you want that, but since I like to train my singing with the help of my guitar, I like when arrangements make the vocal melody easy to add or remove on guitar. I can easily play a sophisticated solo version of this in a coffee shop, or I can just look at the chord nomenclature and see the song only from a rhythm section point of view when in a full band, when usually you purposely want to contribute less.9. Notes with an upward stem represent those notes being the original melody. This give arrangement a lot of replay value because a skillfull performer can improvise the background harmonies.
$2.99
2.74 €
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Guitare notes et tablatures
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Traditional Scottish Folk
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Brian Streckfus
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Auld Lang Syne
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Brian Streckfus
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SheetMusicPlus
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