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Vous avez sélectionné:
How Great Thou Art, for Harp, Violin and Cello
Partitions à imprimer
24 partitions trouvées
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1
How Great Thou Art, for Harp, Violin and Cello
Harpe, Violon, Violoncelle
Cello,Harp,Violin - Level 3 - Digital Download SKU: A0.543940 Composed by Swedish F…
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Cello,Harp,Violin - Level 3 - Digital Download SKU: A0.543940 Composed by Swedish Folk Melody. Arranged by Cindy Blevins. Praise & Worship,Sacred. 10 pages. Cindy Blevins #3520571. Published by Cindy Blevins (A0.543940). This arrangement is for harp, violin and cello. Your download includes the score, harp part, violin part and cello part. My website: https://www.blevinsmusic.com.
$5.99
5.59 €
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Harpe, Violon, Violoncelle
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Swedish Folk Melody
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Cindy Blevins
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How Great Thou Art, for Harp, Violin and Cello
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Cindy Blevins
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SheetMusicPlus
How Great Thou Art, for Violin, Viola, Cello and Harp
Cello,Harp,Viola,Violin - Level 3 - Digital Download SKU: A0.1354028 Composed by Sw…
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Cello,Harp,Viola,Violin - Level 3 - Digital Download SKU: A0.1354028 Composed by Swedish. Arranged by Cindy Blevins. Christian,Praise & Worship. 11 pages. Cindy Blevins #938753. Published by Cindy Blevins (A0.1354028). This is a beautiful, playable arrangement for violin, viola, cello and harp. There are no lever or pedal changes within the harp part. You receive the score and the separate parts.
$7.99
7.45 €
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Swedish
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Cindy Blevins
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How Great Thou Art, for Violin, Viola, Cello and Harp
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Cindy Blevins
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SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Choral, Solo - Digital Download SKU: H1.C5993DP Composed by Stuart Hine. Arranged b…
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Choral, Solo - Digital Download SKU: H1.C5993DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Octavo. 12 pages. Hope Publishing - Digital #C5993DP. Published by Hope Publishing - Digital (H1.C5993DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$3.25
3.03 €
#
Stuart Hine
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Choral, Solo - Digital Download SKU: H1.C5720DP Composed by Stuart Hine. Arranged b…
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Choral, Solo - Digital Download SKU: H1.C5720DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Octavo. 12 pages. Hope Publishing - Digital #C5720DP. Published by Hope Publishing - Digital (H1.C5720DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$3.25
3.03 €
#
Stuart Hine
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Vocal ensemble Solo (Med. Voice-Key A-flat)-Digital - Digital Download SKU: H1.8552DP
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Vocal ensemble Solo (Med. Voice-Key A-flat)-Digital - Digital Download SKU: H1.8552DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Vocal Solo Sheet Music Series. Hymntune, General Worship, Worship. Score. 8 pages. Hope Publishing - Digital #8552DP. Published by Hope Publishing - Digital (H1.8552DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$7.95
7.42 €
#
Stuart Hine
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Choral, Solo - Digital Download SKU: H1.C5724DP Composed by Stuart Hine. Arranged b…
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Choral, Solo - Digital Download SKU: H1.C5724DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Octavo. 12 pages. Hope Publishing - Digital #C5724DP. Published by Hope Publishing - Digital (H1.C5724DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$3.25
3.03 €
#
Stuart Hine
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Solo Solo instrument - Digital Download SKU: H1.C5701ODP Composed by Stuart Hine. A…
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Solo Solo instrument - Digital Download SKU: H1.C5701ODP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Set of Instrumental Parts. 60 pages. Hope Publishing - Digital #C5701ODP. Published by Hope Publishing - Digital (H1.C5701ODP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$89.95
83.92 €
#
Stuart Hine
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
How Great Thou Art
Orchestre
(Orchestra) - Digital Download SKU: H1.C5951ODP Arranged by Joel Raney. Piano Accom…
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(Orchestra) - Digital Download SKU: H1.C5951ODP Arranged by Joel Raney. Piano Accompaniment with Optional Orchestra. General Worship, Sacred. Set of Instrumental Parts. 106 pages. Hope Publishing - Digital #C5951ODP. Published by Hope Publishing - Digital (H1.C5951ODP). Stuart K. Hine. Ps. 48:1 - Ps. 19:1 - 1 Thes. 4:16 - Daniel 9:4 - Hab. 3:2 - John 14:3 - Ps. 47:2, 66:3, 68:35, 99:3 - Rev. 4:1-11, 5:13-15 - Rom. 8:32.Swedish Folk Melody One of the most influential hymns of the twentieth century is given a grand treatment by arranger Joel Raney in this awe-inspiring setting for choir and orchestra. Depicting the power and greatness of God, the sweeping choral writing, imaginative modulations, and unique transitions all combine for an emotionally rich presentation. Ochestrations: Conductor's Score, 2 Flutes, Oboe, 2 Clarinets in B-flat, Bassoon, 2 Horns in F, 3 Trumpets in B-Flat, 2 Trombones, Tuba, Percussion 1 & 2, Harp, Piano, 2 Violins, Viola, Cello, Double Bass.
$89.95
83.92 €
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Orchestre
#
Joel Raney
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How Great Thou Art
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Choral, Handbell, Vocal, Solo - Digital Download SKU: H1.C5701DP Composed by Stuart…
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Choral, Handbell, Vocal, Solo - Digital Download SKU: H1.C5701DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Ring & Sing, Orchestra, Vocal Solo/Duet. Hymntune, Ring & Sing, General Worship, Worship. Octavo. 12 pages. Hope Publishing - Digital #C5701DP. Published by Hope Publishing - Digital (H1.C5701DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$3.25
3.03 €
#
Stuart Hine
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul
Cloches
Solo 3-5 octave handbell accompaniment - Digital Download SKU: H1.C6102HBDP Compose…
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Solo 3-5 octave handbell accompaniment - Digital Download SKU: H1.C6102HBDP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Vocal Solo Sheet Music Series. Hymntune, General Worship, Worship. Handbell score. 8 pages. Hope Publishing - Digital #C6102HBDP. Published by Hope Publishing - Digital (H1.C6102HBDP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel:9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Revelation 4:4 - Reve.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$7.00
6.53 €
#
Cloches
#
Stuart Hine
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul
Vocal, Solo vocal duet (high & low voice-key of A-flat) - Digital Download SKU: H1.8681…
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Vocal, Solo vocal duet (high & low voice-key of A-flat) - Digital Download SKU: H1.8681DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Vocal Solo Sheet Music Series. Hymntune, General Worship, Worship. Vocal score. 8 pages. Hope Publishing - Digital #8681DP. Published by Hope Publishing - Digital (H1.8681DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$7.95
7.42 €
#
Stuart Hine
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul
Choral, Solo - Digital Download SKU: H1.C6102DP Composed by Stuart Hine. Arranged b…
(+)
Choral, Solo - Digital Download SKU: H1.C6102DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Octavo. 12 pages. Hope Publishing - Digital #C6102DP. Published by Hope Publishing - Digital (H1.C6102DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel:9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Revelation 4:4 - Reve.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$3.25
3.03 €
#
Stuart Hine
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul
Vocal Trio for Treble Voices - Digital Download SKU: H1.9140DP Composed by Stuart K…
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Vocal Trio for Treble Voices - Digital Download SKU: H1.9140DP Composed by Stuart K. Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Vocal Score. 12 pages. Hope Publishing - Digital #9140DP. Published by Hope Publishing - Digital (H1.9140DP). Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$7.95
7.42 €
#
Stuart K
#
Mary McDonald
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bas…
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series youâll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They donât follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If youâre not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
9.33 €
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Nathan Petitpas - Dots and Beams
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Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters
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Dots and Beams
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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
22.38 €
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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
Scheherazade - I. The Sea and Sinbad's Ship - Pick-A-Part Arrangement for String Orchestra
Orchestre à Cordes
String Orchestra - Level 4 - Digital Download SKU: A0.799741 Composed by Nikolay An…
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String Orchestra - Level 4 - Digital Download SKU: A0.799741 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by Grant Gilman. 20th Century,Romantic Period. Score and parts. 147 pages. Dr. Grant Gilman #3511981. Published by Dr. Grant Gilman (A0.799741). Nikolai Rimsky-Korsakov Scheherazade - I. The Sea and Sinbadâs Ship Pick-A-Part Arrangement for String Orchestra by Dr. Grant Gilman String Orchestra Parts in This Pick-A-Part Arrangement Violin 1A Violin 1B Violin 1C Violin 2A Violin 2B Violin 2C Viola A Viola B Viola C Cello A Cello B Cello C Bass A Bass B Bass C Harp/Keyboard (optional)About Pick-A-Part Arrangement This arrangement system employs simultaneous, multi-level difficulty parts for each string section. The goal is to accommodate all levels of playing in the preparation and performance of a symphonic masterwork. In this arrangement, there are 3 difficulty levels for each individual string section, labeled A, B, and C, respectively. Each level is a decreasing level of technical and musical difficulty, level A being the highest level of difficulty. The A level is close to, if not exactly the same as, the original string part, plus the integration of wind parts when applicable. B and C follow in a proportional reduction of difficulty level. For this solution to be most effective, some students should be encouraged to play the most challenging parts simultaneously with those playing the simpler parts. This presents the opportunity to participate in a performance that includes most of the original material. The B and C parts cover enough of the surface material while maintaining a modicum of independence from the A part. In other words, the B and C parts are able to hold their own in performance without the A parts. For example, letâs say you have a couple of talented violinists and a few more that are well below their playing level, only two violists that need a great deal of help, a plethora of cellists with a wide range of abilities, and one single bass player that is a beginner. Your distribution of parts may look something like this: Violin 1 - two on Violin 1A, one on Violin 1C, and the rest on Violin 1B Violin 2 - one on Violin 2B, the rest on Violin 2C Viola - both on Viola C Cello - three on Cello A, one on Cello B, and the rest on Cello C Bass - one on Bass C This potential setup will challenge each player at their current level of development while creating the context for a moving experience with a major orchestral work. A Note about the Score and Printing The full score is designed to be printed in portrait orientation on 17x11 tabloid size paper. Even at this size, the score can be confusing to read, especially if you are not covering every difficulty level part. If you would like a custom score showing only the parts you are using, please email me: conductor@grantgilman.com. I will be happy to work with you!www.grantgilman.comwww.americanmusepodcast.com
$29.99
27.98 €
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Orchestre à Cordes
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Nikolay Andreyevich Rimsky-Korsakov
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Grant Gilman
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Scheherazade - I. The Sea and Sinbad's Ship - Pick-A-Part Arrangement for String Orchestra
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Dr. Grant Gilman
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SheetMusicPlus
How Firm a Foundation - 8 Core Orchestra
Orchestre
Full Orchestra - Digital Download SKU: A0.742692 Composed by Public Domain. Arrange…
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Full Orchestra - Digital Download SKU: A0.742692 Composed by Public Domain. Arranged by Jeff D. Anderson. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and parts. 74 pages. AnderKamp Music #3637263. Published by AnderKamp Music (A0.742692). This arrangement has a âlittleâ bit of the feel of a Bruce Hornsby type song for the piano and rhythm section. Though it has some life and energy to it, there are no tricky rhythms in this arrangement. This should be a pretty easy arrangement to pull together with limited rehearsal time that sounds GREAT! This arrangement begins in the Key of Eb and changes keys to F. You donât have to have a rhythm section to play this piece. Itâs great if you do, but itâs not critical. As long as you have a piano player, they can play the written out piano part and you are good to go. As true to the entire series, this arrangement features playable, easy to read rhythms for all sections.The 8 Core Orchestra is a full orchestra series designed to work with a core group of 8 players plus piano/rhythm.8 Core instrumentation:2 woodwinds, 2 trumpets, 1 horn, 2 trombones and 1 bass trombone or tubaFull instrumentation:2 flutes, oboe, 2 clarinets, bassoon/bass clarinet, 3 trumpets, 2 horns, 2 trombones, 1 bass trombone/tuba, 2 violins, viola, cello, double bass, harp, percussion (2 players), timpani, piano, electric bass, guitar(s) and drums (guitar and drums read from rhythm chart)
$49.99
46.64 €
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Orchestre
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Public Domain
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Jeff D
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How Firm a Foundation - 8 Core Orchestra
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AnderKamp Music
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SheetMusicPlus
Corant - trio- violin/oboe/cello
Cello,Oboe,Violin - Level 4 - Digital Download SKU: A0.1393758 Composed by Jean-Bap…
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Cello,Oboe,Violin - Level 4 - Digital Download SKU: A0.1393758 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instructional,Standards. 12 pages. Phil Beaman #977229. Published by Phil Beaman (A0.1393758). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite. Â It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4 with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps. Â Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts. Â I wrote a highly ornamented continuo for each part when not playing melody. Â In true Baroque style I have created a tight interplay between the parts. Â Each part also has a rather wide range of about 2 octaves. Â Although in a Minor Key, this piece is very bright and uplifting. Â It is very accessible and thus a concert crowd pleaser. Â Great for the student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation. Â Most of all, this piece is just Pure Fun!6 pages score, 2 pages @ partRanges -Violin - bottom space F# to high E above staffOboe - middle C to high A above staffCello - low C below staff to high E above staff.
$7.99
7.45 €
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Jean-Baptiste Loeillet
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Phil Beaman
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Corant - trio- violin/oboe/cello
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Phil Beaman
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SheetMusicPlus
Corant - Trio-2 Violins-Cello
Trio à Cordes: 2 violons, violoncelle
String Ensemble,String Trio Cello,Violin - Level 4 - Digital Download SKU: A0.844430
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String Ensemble,String Trio Cello,Violin - Level 4 - Digital Download SKU: A0.844430 Composed by Jean Loeillet. Arranged by Phil Beaman. Baroque,Concert,Instructional,Standards. Score and parts. 12 pages. Phil Beaman #3260051. Published by Phil Beaman (A0.844430). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite. It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4. with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps. Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts. I wrote a highly ornamented continuo for each part when not playing melody. In true Baroque style I have created a tight interplay between parts. Each part also has a rather wide range. (6 pages score, 2 pages @ part)Although in a Minor Key, this piece is very bright and uplifting. It is very accessible and thus a concert crowd pleaser. Great for student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation. Most of all, this piece is just Pure Fun!
$7.99
7.45 €
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Trio à Cordes: 2 violons, violoncelle
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Jean Loeillet
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Phil Beaman
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Corant - Trio-2 Violins-Cello
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Phil Beaman
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SheetMusicPlus
The Best Hymns of All Time (Violin, Cello and Piano) Book 1
Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - Digital Download …
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Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - Digital Download SKU: A0.522286 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 50 pages. Colin Kirkpatrick Publications #6596257. Published by Colin Kirkpatrick Publications (A0.522286). Weâre really excited to present our collection of sixty of the best-loved hymns ever composed, presented in three books. Arranged for violin, cello and piano they are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. To make the music accessible to less experienced string players, the range of the notes has been kept fairly low so that many of the arrangements can be played in first position, though more experienced players would probably want to avoid open strings. The cello part does not follow the bass but instead plays an independent tenor line using to the mid to upper range of the instrument. The top note in the cello part is the F sharp above the bass clef. The piano part has been kept as straightforward as possible with the left hand playing the bass part. To extend the possible uses of this collection, thereâs also a melody part printed in the bass clef, an octave lower than the violin part. This could of course be used for cello solo or indeed for any other bass clef instrument. Included in the 50-page PDF file is an optional bass part which follows the piano left hand and could be used for string bass or bass guitar. With such a small ensemble, a conductor is hardly necessary and to save on costs the pianist reads from the score. For this reason, the piano part in the score has been slightly enlarged. Book 1 contains the following twenty popular hymns: Abide with Me (Eventide); All Glory, Laud and Honor (St. Theodulph); All Hail the Power of Jesus' Name (Coronation); All Through the Night (Ar Hyd y Nos); City of God, How Broad and Far (Richmond - Haweis); Fairest Lord Jesus (Crusaderâs Hymn); Fight the Good Fight (Duke Street); Forth in Thy Name (Angel's Song, Song 34); Guide Me, O Thou Great Redeemer (Cwm Rhondda); He who Would Valiant Be (Monkâs Gate); Holy, Holy, Holy! (Nicea); I Heard the Voice of Jesus Say (Kingsfold); Jesu, Lover of my Soul (Aberystwyth); Nearer my God to Thee (Bethany); Now Thank We All Our God (Nun Danket); O Worship the King (Hanover); Rejoice, the Lord is King (Darwallâs 148th); Soldiers of Christ, Arise (Diademata); The Lordâs my Shepherd (Crimmond); What a Friend we Have in Jesus (Converse). The music has been set in string-friendly keys so they are not compatible with the brass or wind publications of the same name. The audio samples include Abide with Me; All Through the Night; I Heard the Voice of Jesus Say; Nearer my God to Thee and What a Friend we Have in Jesus.
$15.99
14.92 €
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Various
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Colin Kirkpatrick
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The Best Hymns of All Time
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Colin Kirkpatrick Publications
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SheetMusicPlus
Pitch Only - Treble Clef (Sight Reading Exercise Book)
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,Englis…
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - Digital Download SKU: A0.931837 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313613. Published by Dots and Beams (A0.931837). This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. Itâs important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that youâre strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years.
$10.00
9.33 €
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Nathan Petitpas - Dots and Beams
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Pitch Only - Treble Clef
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Dots and Beams
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SheetMusicPlus
ReSolUtIo
2 violins, viola and cello - advanced - Digital Download SKU: S9.Q49388 Echoes f…
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2 violins, viola and cello - advanced - Digital Download SKU: S9.Q49388 Echoes from Beethoven's Harp Quartet. Composed by Lucio Franco Amanti. This edition: score and parts. Beethoven year 2020 - Ludwig van Beethoven. Downloadable, Score and parts. Op. 74. Duration 14 minutes. Schott Music - Digital #Q49388. Published by Schott Music - Digital (S9.Q49388). When Cuarteto Casals approached me with the idea of illuminating Beethoven´s quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor⦠What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays âhiddenâ in the St. Johnâs hymn that gave musical notes their original name: âRe, Sol, Ut, Ioâ (D, G, C, B in English music notation) Perfect! âResolutioâ in Latin means both the resolution of a problem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally the melodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethoven´s âHarp Quartetâ. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti).
$40.99
38.24 €
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Lucio Franco Amanti
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ReSolUtIo
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Schott Music - Digital
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SheetMusicPlus
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