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Vous avez sélectionné:
Give It One: 1st Keyboard
Partitions à imprimer
4 partitions trouvées
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Give It One: 1st Keyboard
Fanfare
Marching Band - Digital Download SKU: AX.00-PC-0016504_K1 1st Keyboard. Comp…
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Marching Band - Digital Download SKU: AX.00-PC-0016504_K1 1st Keyboard. Composed by Alan Downey and Maynard Ferguson. Arranged by Anthony M. Falcone and Victor López. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016504_K1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016504_K1). UPC: 038081481050.One of the most well-known charts from jazz legend Maynard Ferguson is now in a terrific new arrangement by Victor LA3pez. LA3pez has adapted this chart to be playable by most bands, while maintaining the excitement and drive of the original. This one sizzles! (2:00).
$3.00
2.76 €
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Fanfare
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Alan Downey and Maynard Ferguson
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Anthony M
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Give It One: 1st Keyboard
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Now Thank We All Our God - Unison choir with solo
Chorale Unison
Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.844488 Composed by Johan…
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Choral Choir (Unison) - Level 2 - Digital Download SKU: A0.844488 Composed by Johann Cruger. Arranged by Phil Beaman. Christian,Holiday,Patriotic,Sacred,Wedding. Octavo. 7 pages. Phil Beaman #3448625. Published by Phil Beaman (A0.844488). Now Thank We All Our God is an English adaptation of the ancient German hymn Nun danket alle Gott. The lyrics were written by Rinkart in 1636, the melody by Cruger in 1647, and the popular harmony by Mendlessohn in 1840.This arrangement begins with a Handelian keyboard introduction, modulates to the 1st Verse for Unison choir with a new homophonic reharmonization for accompaniment, then modulates to Verse 2 which is a softer Unison with a drone accompaniment and a voice solo antiphon, then a final modulation into Verse 3 which is Unison with optional traditional SATB hymn parts.Since it is in Choral Unison we have used it here in the National Cathedral for gathered massed choirs from around the country to celebrate the official Government Holiday of National Day of Thanksgiving. I am aware that one country has also used this piece as part of the Investiture Ceremony to install their new Bishop. The addition of the Psalm antiphons gives it a Nationalistic angle as well. Further, in some countries this hymn is also a tradition at Christian Weddings. In short...this piece is perfect for any moment of Thanksgiving!7 pages 4 minutes
$2.99
2.75 €
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Chorale Unison
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Johann Cruger
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Phil Beaman
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4 minutes
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Now Thank We All Our God - Unison choir with solo
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Phil Beaman
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SheetMusicPlus
Three Chromicons for piano solo
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon For…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons
The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.<br> <br> The sound sample is the live performance.<br> <br> The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).<br> <br> Ford explains the significance of these unique scores:<br> <br> "In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."<br> <br> "By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."<br> <br> "Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."<br> <br> "Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."<br> <br> "Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."<br> <br> Video of Chromicon III<br> https://www.youtube.com/watch?v=VHMw-vzZlGE
$12.00
11.02 €
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Piano seul
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Joseph Dillon Ford
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Three Chromicons for piano solo
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David Warin Solomons
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SheetMusicPlus
Fantasia Sonata in D Major for piano solo - Ludwig van Beethoven (Unv 12 / deest 45) - Reconstructio
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.933520 Composed by Ludwig van Beeth…
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Piano Solo - Level 4 - Digital Download SKU: A0.933520 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Classical. Score. 48 pages. Upstream Music #482215. Published by Upstream Music (A0.933520). There are many more unfinished than completed compositions of Beethoven that have been preserved. ln these fragments one sees ideas for individual works. A large number of sketchbooks and sketches from the composer were preserved and are housed in libraries and private collections all over the globe. Some sketches are no more than brief experiments or short elaborated ideas, but there are also fragments preserved that nearly give us a complete picture of a composition. In the so-called Kafka sketchbook, which was published in 1970 in London, approximately 500 fragments of manuscripts were bundled that stem from 1786 - 1799. The Fantasia Sonata in D (deest 45) for piano forte in three parts, was hidden in the archives since 1792. This sonata of the young Beethoven, with striking similarities to the Moonlight sonata and the Pastorale has never been performed on stage. Young pianotalent Martin Oei played it for the first time in the Concertgebouw Amsterdam, October 21st, 2012. The large, over 1100 bars comprising torso now known as Fantasia Sonata in D from 1792, cannot be called a sketch anymore, although Beethoven has not completed the work and used many ideas in other, later works. The reconstruction of the sketches was done by the Dutch Beethoven musicologist and composer Cees Nieuwenhuizen. The piece was probably written in Bonn, three years before he started to write his first official piano sonata of a series of 32 sonatas. In November 1792 Beethoven went from Bonn to Vienna to study with the famous composer Joseph Haydn (1732–1809). Beethoven rapidly proceeded to make his mark as a brilliant keyboard performer and as a gifted young composer with a number of works to his credit. In 1795 his first mature published works appeared, and his career was officially launched. Striking harmonies The re-using of previously drafted material is quite common in Beethoven's works. Apparently the material wasn't yet ripe enough at the time of its origination, or perhaps Beethoven changed his mind with regards to the new composition. This could very well be so regarding the torso from Kafka’s sketchbook that we now call the Piano Fantasia sonata in D. This piece contains 1100 bars of music, not taking into account the alternative bars. The piece is composed by Beethoven in 1792 - 1793 and was set up as a tripartite sonata in D with remarkable abnormalities in terms of form and content. There are striking harmonies that cannot be found in other works composed in that same period. It’s possible that the composer didn’t have the courage to publish it or that indeed the time was not yet ripe for it. Finally the composer let the draft go and never came back to it. Or did he? Thematic similarities We find phrases in several later works that share similarities with ideas and themes from Fantasia sonata in D. The first part of Fantasia sonata has the same theme as the trio of the third movement of Symphony no. 7 (in A Major Opus 92). Even the key and also the rhythm in 3/4 time are the same. This cannot be a coincidence. Similar mood and thematic parallels can be found in the Pastorale, the Sonata for piano no. 15 (Opus 28): it is striking that this piece is also composed in D and in 3/4 time. We find similar dramatic expression in the Sonata for piano no. I 7 in d minor Opus 31 no. 2. The second movement of the Fantasia sonata nearly has the same theme as the second movement of the Sonata for piano no. 23 in minor (the Appassionato Opus 57). Martin Oei, Daiel Wayenberg, Cees Nieuwenhuizen at The World Premiere in The Concertgebouw Beethoven begins the third movement of the Fantasia sonata with the main theme of the first movement, but now in e minor. lts appearance in minor is an entirely new idea. Nevertheless Beethoven doesn't elaborate the idea any further because it disappears after 29 bars. Now a new agitated theme starts in d minor, which was announced in the first movement, but now reappears in its complete.
$29.00
26.63 €
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Piano seul
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Ludwig van Beethoven, Cees Nieuwenhuizen
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Fantasia Sonata in D Major for piano solo - Ludwig van Beethoven
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Upstream Music
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SheetMusicPlus
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