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TRI ET FILTRES
Tri et filtres :
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PIANO & CLAVIERS
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16
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Quatuor à cordes: 2 violons, alto, violoncelle
10
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3
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2
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2
2 Violons (duo)
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Harpe
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Trio à Cordes: violon, alto, violoncelle
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8
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7
Ensemble de Percussions
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Because I Felt Like It
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.907114 Composed by Emily Wood. 20th…
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Piano Solo - Level 4 - Digital Download SKU: A0.907114 Composed by Emily Wood. 20th Century,Contemporary,Standards. Score. 3 pages. Emily Sue Wood #50911. Published by Emily Sue Wood (A0.907114). This rambunctious, unusual solo piano piece is perfect for somebody with a sense of humor! About three minutes long, this piece would liven up a piano recital or any social gathering that calls for fun piano music. This is a good piece to teach to an intermediate pianist who can read and play chromatic notes and complex meter (7/8 and 5/8 time). Written in 2015. (Facebook page: Music by Emily Wood; eswoodmusic@gmail.com).
$2.95
2.64 €
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Piano seul
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Emily Wood
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eswoodmusic@gmail.com).
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Because I Felt Like It
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Emily Sue Wood
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SheetMusicPlus
Rocket Man (i Think It's Gonna Be A Long Long Time)
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 4 - Digital Download SKU: A0.796747 By Piano Tribute P…
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Alto Saxophone,Piano - Level 4 - Digital Download SKU: A0.796747 By Piano Tribute Players. By Bernie Taupin and Elton John. Arranged by Gary D. Belshaw (ASCAP). Contemporary. Score and part. 13 pages. DR GARY D BELSHAW #4631187. Published by DR GARY D BELSHAW (A0.796747). For the advanced intermediate saxophonist. Three-and-a-half minutes. 13 pages. This enormously popular tune translates so naturally for the solo saxophone with a more classical (serious concert music) feel. Not only is this a solid recital closer, it is an excellent choice for social obligations and for recruiting. Free improvisations are welcome. Reward your advanced pupils with a gift of this arrangement. Thank you for considering my music. Your reviews are really important to me and are deeply appreciated. Follow me on Facebook (Gary D. Belshaw Music) or Twitter @GaryDBelshawMus. Please like this title on your Sheet Music Plus page.
$6.99
6.26 €
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Saxophone Alto et Piano
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Piano Tribute Players
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Gary D
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Rocket Man
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DR GARY D BELSHAW
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SheetMusicPlus
Rocket Man (i Think It's Gonna Be A Long Long Time)
Saxophone Tenor et Piano
Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.796748 By Piano Tribute …
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Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.796748 By Piano Tribute Players. By Bernie Taupin and Elton John. Arranged by Gary D. Belshaw (ASCAP). Contemporary. Score and part. 13 pages. DR GARY D BELSHAW #4631205. Published by DR GARY D BELSHAW (A0.796748). For the advanced intermediate saxophonist. Three-and-a-half minutes. 13 pages. This enormously popular tune translates so naturally for the solo saxophone with a more classical (serious concert music) feel. Not only is this a solid recital closer, it is an excellent choice for social obligations and for recruiting. Free improvisations are welcome. Reward your advanced pupils with a gift of this arrangement. Thank you for considering my music. Your reviews are really important to me and are deeply appreciated. Follow me on Facebook (Gary D. Belshaw Music) or Twitter @GaryDBelshawMus. Please like this title on your Sheet Music Plus page.
$6.99
6.26 €
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Saxophone Tenor et Piano
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Piano Tribute Players
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Gary D
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Rocket Man
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DR GARY D BELSHAW
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SheetMusicPlus
Three-Ring Circus
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.823013 Composed by David Rubinstein…
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Piano Solo - Level 3 - Digital Download SKU: A0.823013 Composed by David Rubinstein. Contemporary. Score. 7 pages. David Rubinstein #5773995. Published by David Rubinstein (A0.823013). Three-Ring Circus is the first of four pieces in the set entitled CIRCUS MUSIC. It is about the spectacle and craziness of the circus experienced by the attendees all at the same time. There is a lyrical middle section. The harmonies are conventional, incongruous and dissonant. The piece is 2 1/2 minutes long and is of intermediate difficulty.
$3.99
3.57 €
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Piano seul
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David Rubinstein
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Three-Ring Circus
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David Rubinstein
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SheetMusicPlus
An American Rondo
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.941527
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.941527 Composed by Harry Salotti. 20th Century,Concert,Contemporary. Score and parts. 16 pages. Harry Salotti #6207645. Published by Harry Salotti (A0.941527). An American Rondo is written for Brass Quintet. The style of the piece is similar to the Cheetham Scherzo and the Frackenpohl Brass Quintet. It is three minutes long. It follows a standard rondo form. There are four themes with the primary theme returning several times. The range of each part is about two octaves. The only real technical challenge is the many meter changes that occur in the piece. An American Rondo is a tonal, upbeat piece mainly in a major key. Listen to the audio file and hear some new American music for your quintet and your audiences.
$12.99
11.63 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Harry Salotti
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It is three minutes long
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An American Rondo
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Harry Salotti
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SheetMusicPlus
The Imaginary Invalid, A Comic Opera in Three Acts Piano Vocal (Small cast, no chorus)
Choral Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.730506 Composed by Ja…
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Choral Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.730506 Composed by James Nathaniel Holland. Broadway,Contemporary,Jazz,Musical/Show,Opera. Score. 212 pages. James Nathaniel Holland #5869141. Published by James Nathaniel Holland (A0.730506). Piano Vocal Score. Full score and individual parts sold separately. Moliere's 300 year old play Le malade imaginaire is adapted into a three act comedic opera by American composer James Nathaniel Holland (adaption, music and libretto). It's the story of a hypochondriac, studio mogul who is willing to marry off his daughter to his celebrity doctor's son to save on expenses. From the other side, his ambitious, hypocritical wife is trying to swindle his fortune. Only his long-time secretary and partner can save him and unite his daughter with the young man who she actually loves. Set in 1930's Los Angeles, Hollywood with early jazz elements, quasi musical numbers that will delight and tickle your audiences today. A small cast opera of about 8 singers (2 tenors, soprano, mezzo, coloratura, 2 baritones, and bass baritone) with no chorus and relatively small sized orchestra, this piece is perfect for any university or small opera house, and it's libretto is originally in English. Suitable for all audiences. Duration: 1 hour and 45 minutes. https://www.youtube.com/playlist?list=PLEcbVsA36MCvU97UVaZdWAPdzkN8woFtw (Revised 2022 Version with 2 additional arias).
$19.95
17.87 €
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James Nathaniel Holland
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The Imaginary Invalid, A Comic Opera in Three Acts Piano Vocal
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James Nathaniel Holland
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SheetMusicPlus
Life is Beautiful
Piano Facile
Piano Solo - Easy/Beginner - Digital Download Composed by Louis Landon. 21st Century,…
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Piano Solo - Easy/Beginner - Digital Download Composed by Louis Landon. 21st Century, New Age. Sheet Music Single. 4 pages. Published by Landon Creative, Inc.
Healing Hearts 3<br> Louis Landon<br> 2016 / Landon Creative, Inc.<br> 63 minutes<br> Review by Kathy Parsons<br> Louis Landon’s Healing Hearts 3 is the third in a series of solo piano albums that are comprised of improvisations that were created while clients were in session at his Healing Piano of Sedona (AZ). These sixty-minute healing and music sessions consist of forty minutes of mentoring and twenty minutes of music that includes personalized music for the client’s own use. Landon created Healing Piano of Sedona several years ago to help people live life joyously, passionately, and stress- and disease-free. Landon is a Steinway Artist who has been a life-long musician. Healing Hearts 3 is his twenty-first album and fourteenth solo piano collection. Each of the thirteen pieces on the album was inspired by a different “soul journey,” so the music is quite varied although it maintains a very calming and peaceful vibe throughout.<br> <br> It is interesting to note that Healing Hearts 3 has the closest to the ideal sound Landon has been looking for on his recordings. He attributes that achievement to the mastering and editing expertise of Joe Bongiorno of Piano Haven Studio, also in Sedona. Landon has been trying to get the sound of a classical concert hall in his Peace Palace studio recordings and this album definitely has that sound, which is exceptionally beautiful - clear, warm and resonant.<br> <br> Healing Hearts 3 begins with “Standing In the Light,” a softly flowing piece with a poignant melody that gently soothes the heart - a favorite. “Heart Song” is hushed, intimate and obviously very personal. “Triumph of the Soul” starts out in the deep bass of the piano - very dark and lost. As the piece evolves, it gradually lightens as it moves up the piano keyboard, ending in a very positive place. I’ve often said that the piano is the best instrument to express the sound and feeling of rain and “Night Rain” proves that point again. More energetic than most of the other tracks, the notes flow freely: sometimes smoothly and evenly, sometimes more percussive like big fat raindrops - love it! “Tears” is heartbreak set to music, although tears are so often a big part of the healing process. Such deep emotion is expressed in this piece! Landon wisely follows sadness with “Happy Man,” a lively slice of pianistic sunshine. “Phoenix Rising” begins in the deep bass of the piano, obviously signifying a very dark place or crisis. Over the course of the composition, there is turmoil and pain, but then Landon gradually moves the piece into the upper end of the piano to a much lighter and more peaceful place - a stunning piece! “Healing Time” is gently uplifting and so soothing and serene that I can actually feel it melting away tension - another favorite. “Music Runs Through Me” flows quickly like a stream with sparkles of sunlight dancing happily on its surface. “Balance” returns to a calm stillness that comes when things/life are in balance. Slow, lyrical and very peaceful, it’s the perfect closing for another great album from Louis Landon!<br> <br> I have thoroughly enjoyed all three Healing Hearts albums, but I think #3 is my favorite. It is available from LouisLandon.com, Amazon, iTunes and CD Baby. Very highly recommended!<br> November 4, 2016<br> <br> Recorded at The Peace Palace, Sedona, AZ, from November 2015 to February 2016. on a Steinway B.<br> <br> Music mastering: Joe Bongiorno at Piano Haven Studio, Sedona, AZ<br> <br> <br> <br> Louis Landon is a composer and Steinway artist. Formerly of New York and currently living in Sedona, Arizona, Louis has dedicated his life to music. His career has taken him around the world playing a variety of styles with some of the most recognized names in the entertainment industry. He toured nationally and internationally, playing classical music for Mikhail Baryshnikov; jazz fusion with The John Payne Band; Latin music with "Pucho and his Latin Soul Brothers”; pop music with Rupert "Pina Colada Song" Holmes; and rock & roll with John Hall, opening for "Little Feat”.<br> <br> Louis began playing the piano by ear at 4 years old and began lessons at 5. As a teenager, he played guitar and keyboard in bands and went on to study music at Stony Brook University, Boston Conservatory and Berklee College of Music.<br> <br> For the past 30 years, through his production company, Landon Music Company, Louis has written and produced music for film, video, and commercials. He recorded his first original album, Love Songs & Jazz, in 1994 and has since released 38 Albums/CDs on the LCI Record label. His latest, entitled Provocative Piano, was released on January 29, 2021. He has just finished up yet another solo piano album, Nighttime Piano for Relaxation and Deep Sleep, with a release date of April 23, 2021.<br> <br> Louis Landon mission:<br> <br> To create a more compassionate world by writing, recording and performing music that inspires love, peace, joy and gratitude.<br> <br> Reviews:<br> <br> “While some pianists are virtuosos in their playing and others may not be as technically proficient, but have great emotional content in their music, Louis Landon brings it all together with impeccable style and grace. His work covers diverse compositional terrain, incorporating influences of classical, new age, jazz, pop, and more in a mellifluous spectrum of moods and musical colors.” Michaeldiamondmusic.com<br> <br> "He has a gift for composition that is second to none." Zone Music Reporter<br> <br> "… indeed meditative and mellow, [he] sacrifices no musical rigor to achieve those ends. With backgrounds in jazz, Latin music, rock, pop, film composing, and classical piano, Louis brings his breadth and depth of experience to bear here. His playing and compositions are sensitive as they are complex and… a diverse range of influences is more than apparent.” Keyboard Magazine<br> <br> Recognition:<br> <br> Louis Landon's music has had over 140 million streams on Pandora radio!<br> <br> Louis Landon's music has had over 34 million streams on Spotify!<br> <br> Thanksgiving Piano was nominated for Album of the Year 2020 by Whisperings Radio.<br> <br> Departure - Solo Piano was nominated for Album of the Year 2017 by Whisperings Radio.<br> <br> Healing Hearts 2 - Solo Piano won 2016 “Contemporary and Modern” Album of the Year at solo piano.com and was nominated for Album of the Year at Enlightened Piano Radio, also in 2016.<br> <br> Healing Hearts - Solo Piano was nominated for Album of the Year at Whisperings Radio 2015.<br> <br> Solo Piano for Love, Peace & Mermaids was nominated for Album of the Year at Whisperings Radio 2010.<br> <br> Solo Piano for Peace was nominated for the 2009 ZMR Music Awards in three categories: Album of the Year, Best Instrumental Album - piano, and Best Cover Art by Zone Music Reporter. Solo Piano for Peace was listed at #30 of the top 100 albums for airplay in 2009 by Zone Music Reporter.<br> <br> Peace Revolution! was Louis Landon's 7th CD and 2nd solo piano CD. It was #7 on the NAR top 100 charts and was played on over 50 stations worldwide.<br> <br> unwind charted at #3 of the top 100 cds for the month of February, 2006 on Zone Music Reporter's website, playing on over 121 stations internationally.<br> <br> Visit LouisLandon.com for bookings, CDs, sheet music, contact info and more.
$5.25
4.7 €
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Piano Facile
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Louis Landon
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Life is Beautiful
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Landon Creative, Inc.
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SheetMusicPlus
Holst - Toccata (Newburn Lads) set for Saxophone Trio
3 Saxophones (trio)
Saxophone Trio,Woodwind Ensemble Alto Saxophone - Level 4 - Digital Download SKU: A0.58…
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Saxophone Trio,Woodwind Ensemble Alto Saxophone - Level 4 - Digital Download SKU: A0.582122 Composed by Gustav Holst. Arranged by John Gibson. 20th Century,Celtic,Folk,Irish. 16 pages. JB Linear #5755449. Published by JB Linear (A0.582122). Gustav Holst is well known by wind players for his sparkling pieces for wind band. In those he used English folk tunes or tunes he composed having a folk flavor. This piece set by John Gibson for saxophone trio comes from Holst's Toccata for piano based upon the Northumbrian song Newburn Lads. It is 2 minutes long, so one entertaining idea would be to play it slowly first and then increase the tempo each time. This setting can be played by three saxes of the same key, ie. 3 altos, 3 tenors, etc.
$11.25
10.08 €
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3 Saxophones (trio)
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Gustav Holst
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John Gibson
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Holst - Toccata
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JB Linear
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SheetMusicPlus
Jack's Lament
Woodwind Ensemble,Woodwind Quartet English Horn,Oboe d'Amore - Level 4 - Digital Download …
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Woodwind Ensemble,Woodwind Quartet English Horn,Oboe d'Amore - Level 4 - Digital Download SKU: A0.1505573 Composed by Danny Elfman. Arranged by Ken Watson. Broadway,Film/TV,Musical/Show. 8 pages. Ken Watson #1080963. Published by Ken Watson (A0.1505573). Just in time for Halloween! This arrangement of Jack's Lament from Nightmare Before Christmas is for Double Reed Quartet: Oboe, Oboe d'Amore, English Horn, and Bass Oboe. These instruments have the perfect reedy timbre for this spooky, quirky, fun piece. With repeat, it's three minutes long.
$17.99
16.11 €
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Danny Elfman
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Ken Watson
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Jack's Lament
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Ken Watson
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SheetMusicPlus
A Whitman Triptych: II. What Is the Grass? (Downloadable)
Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - Digital Download SK…
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Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8322-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 15 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8322-E. Published by E. C. Schirmer Music Company - Digital (MQ.8322-E). UPC: 600313483226. English. The three a cappella choral pieces that comprise “A Whitman Triptych†were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass†was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed†as the basis for my composition “Invocation and Dance.†I went on to set “Good-Bye, My Fancy†for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road†for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. “What is the Grass?†is also an adaptation of a much longer poem, one of Whitman’s deepest, and most mysterious. The poem begins as a child-like meditation on grass; as hope, as an embodiment of new life and new growth in the plant world. Then suddenly there is a somber turn with the line “And now it seems to me the beautiful uncut hair of graves.†Here Whitman enters an extended mediation on how grass connects life and death, informed by his experiences in the Civil War. Hope returns with the line: “They are alive and well somewhere,†leading to the mysterious final line: “And to die is different from what anyone supposed, and luckier…†Here Whitman affirms that death can be an initiation into a broader participation of existence. In the words of poet Ivan M. Granger, Whitman offers a “Zen-like riddle that doesn’t offer an answer so much as a pathway of questioning.†My musical setting follows Whitman’s exploration, first taking a child’s point of view, expressed with lilting melodies set in a lively compound meter. The entry of the tenor soloist indicates a change of mood to the serious. The first mood returns, leading to a climax on the words “And led forward life…â€, set in 9-part harmony. The mood turns reverent, as the tenor soloist intones: “All goes onward and outward; nothing collapses.†The piece ends with a tone of gentle, slightly ironic questioning. -David ConteDuration: 5:42
$2.85
2.55 €
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David Conte
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A Whitman Triptych: II. What Is the Grass?
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Gigue Fugue
Woodwind Ensemble Flute - Level 5 - Digital Download SKU: A0.910427 Composed by Joh…
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Woodwind Ensemble Flute - Level 5 - Digital Download SKU: A0.910427 Composed by Johann Sebastian Bach. Arranged by David Heywood. Baroque. 33 pages. David Heywood #5210509. Published by David Heywood (A0.910427). So there are fugues, and then there are great fugues, and then there is the Gigue Fugue by J.S. Bach. Whereas many of the fugues of this period plod or even drag along at times and are not that fun to play, the light 12/8 dance like nature of this work is playful, energizing, and a challenge to perform. Set for Flute Quintet or Flute Choir (Three C Flutes, Alto, and Bass), the music bounces and dances in a way that is sheer magic in a live hall, and fits together like a beautiful clock that will both delight and impress your audience. It is three minutes of pure exhilaration!
$14.99
13.42 €
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Johann Sebastian Bach
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David Heywood
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Gigue Fugue
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David Heywood
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
21.48 €
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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
Battle Hymn of the Republic
Flûte traversière et Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.899190 Composed by William Steffe …
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Flute,Piano - Level 3 - Digital Download SKU: A0.899190 Composed by William Steffe (1830-1890). Arranged by Arr. by Deborah M. Sylvester (1989-present). 20th Century,Christian,Contemporary,Holiday,Patriotic. Score and part. 8 pages. Silverflute Music #3114201. Published by Silverflute Music (A0.899190). Looking for a patriotic flute & piano arrangement for your next event? This arrangement of the Battle Hymn of the Republic is one that would be an excellent addition! It opens gently, with the flute in the lower register, and steadily builds into a calm and steady, then more determined, enhanced marching style as the flute goes higher and higher in its range. Three pulses of the verse are heard, along with two statements of the refrain (Glory, glory, hallelujah), with the song emphatically ending as the flute re-iterates the tune for the words His truth is marching on. The piece is three minutes and thirty seconds long.
$3.99
3.57 €
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Flûte traversière et Piano
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William Steffe
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Arr
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Battle Hymn of the Republic
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Silverflute Music
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SheetMusicPlus
Ghostbusters
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1303295 By Ray Parker Jr. By Ray Pa…
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Piano Solo - Level 2 - Digital Download SKU: A0.1303295 By Ray Parker Jr. By Ray Parker Jr. Arranged by Hannah Hawken. Contemporary,Film/TV,Funk,Halloween,Pop. Score. 3 pages. Hannah Hawken #892874. Published by Hannah Hawken (A0.1303295). This intermediate level arrangement of the Ghostbusters theme will be a hit with piano students and audiences alike. It has multigenerational appeal as there have been several sequels since the original 1984 film, including one planned for 2024. It's also a favourite for Halloween discos and would be perfect for spooky season. I've set this at a level that will be manageable for early intermediate students or a quick learn for more established intermediate players. The bass ostinato is in its original form to start with but, when the right hand starts playing the melody, the bass line is simplified to make coordination easier. This arrangement is around three minutes long, so not the full song, but it could be extended by playing the repeated section a third time for the third verse. The repeat could be omitted if it's too long and it would also be possible to cut from bar 30 to 58 to make it quicker to learn.
$4.99
4.47 €
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Piano seul
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Ray Parker Jr
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Hannah Hawken
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Ghostbusters
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Hannah Hawken
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SheetMusicPlus
Balta ainava
Piano seul
Piano - intermediate - Digital Download (White Scenery (Winter)). Composed by Peteris…
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Piano - intermediate - Digital Download (White Scenery (Winter)). Composed by Peteris Vasks (1946-). This edition: single sheet. Downloadable. Duration 7 minutes. Schott Music - Digital #Q12485. Published by Schott Music - Digital
Peteris Vasks occupies a special position in the circle of Baltic composers. He is not only the most significant and popular composer ever to come out of Latvia. he always speaks to his listeners with a fervent intensity that seems to point to something higher. This higher aspect is without a doubt something that stands above the world of humanity but is also present within each person: divine nature.<br> <br> "I am deeply rooted in nature, in the nature of the North. It influences all of my music. The nature we know is also quite various. we have four very distinct seasons. The winter is very long, the summer very short and therefore all the more beautiful and longed for. The seasons in between are quite dramatic."<br> <br> The first of Peteris Vasks's Seasons pieces was not written with the intention of forming a complete cycle. For his friend, Talivaldis Deksnis, he composed in 1980 Balta ainava - White Landscape (Winter), in 1981 Rudens muzika - Autumn Music, and in 1995 the Pavasara muzika - Spring Music. In 2008, Zala ainava - Green Landscape (Summer) came into being, the piece which completed the cycle.<br> <br> In 2009, as a kind of "encore", Vasks wrote Vasaras vakara muzika - Music for a Summer Evening based on old sketches. this, of all the pieces, is the one most anchored in tradition. Only the two newest pieces - both of which have to do with summer - have a fixed metrical structure. The three earlier works are metrically free, notated without bar lines, which gives them an improvisatory character.<br> <br> Vasks says of the individual pieces in the cycle: "In Balta ainava everything is white. A new year begins. It is a quiet meditation, a new beginning, with only two themes.<br> <br> Pavasara muzika. Quasi una Sonata - the most demanding piece in this cycle - is intense, an impressive development. Spring comes slowly, with much drama. It is like a battle, until it is simply there. This multi-faceted piece, with its bird songs, lives from conflicts and dramatic intensification and ends in ecstatic rapture. Zala ainava is based on two themes. Our summer is very brief and offers a respite after the battles. And it is so beautiful! The music reflects joy and contentment. The first theme brings a kind of pure energy. the second is more devoted to tone painting. At the end, a five-note quotation from a well-known Latvian folksong about a drunkard is heard.<br> <br> Rudens muzika begins pianissimo on a quiet September day, in a peaceful, sunny atmosphere. Now the autumn storms sweep over the land. a gentle sadness settles on the people and on nature, which surrenders its splendor. After a last great storm, the snow comes again as a symbol of purified conclusion and a new beginning. Vasaras vakara muzika takes place at the quiet end of a summer day. The sun sets. Slowness. Memories of previous experiences surface. With the memories' appearance comes an increase in intensity. Towards the end, a kind of folksong is heard: 'We have survived the time of tyranny and retained our identity'. The ending is quiet, everything is asleep."<br> <br> Christoph Schluren<br> <br> Translation: John Patrick Thomas and W. Richard Rieves
$10.99
9.84 €
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Piano seul
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Peteris Vasks (1946-)
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Balta ainava
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Schott Music - Digital
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SheetMusicPlus
Uefa Champions League Team
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1381585 Composed by Anthony Chr…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1381585 Composed by Anthony Christopher Britten. Arranged by Kevin Riley. 21st Century,Film/TV. 60 pages. Kevin Riley #966278. Published by Kevin Riley (A0.1381585). The UEFA Champions League Anthem, officially titled simply Champions League, is the official anthem of the UEFA Champions League, written by English composer Tony Britten in 1992, and based on George Frideric Handel's Zadok the Priest. It was also the official anthem of the UEFA Women's Champions League from its creation in 2001 to the 2021 creation of an independent anthem. The complete anthem is about three minutes long, and has two short verses and the chorus. The lyrics are in UEFA's three official languages: English, French, and German. The chorus is set to the exclamations Die Meister! Die Besten! Les grandes équipes! The champions!The anthem is played inside the stadium before the start of each UEFA Champions League match, in addition to the beginning and end of television broadcasts of the games. Special vocal versions of the anthem have been performed live at the UEFA Champions League Final. UEFA's official website states, the anthem is now almost as iconic as the trophy.This arrangement does not require a choir. Those parts are taken by the brass section.
$80.00
71.65 €
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Orchestre
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Anthony Christopher Britten
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Kevin Riley
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Uefa Champions League Team
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Kevin Riley
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SheetMusicPlus
Fantasia, Opus 34
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.895797 Composed by David Pentecost.…
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Piano Solo - Level 3 - Digital Download SKU: A0.895797 Composed by David Pentecost. Baroque,Classical,Contemporary,Romantic Period. Score. 10 pages. David Pentecost #5024835. Published by David Pentecost (A0.895797). This is my 3rd Fantasia. It is 9 pages long, is in three different keys, and has 6 movements. The movements are contrasting: some are slow and romantic sounding, others are fast; one is in baroque style. Duration: 6½ minutes.
$4.99
4.47 €
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Piano seul
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David Pentecost
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Fantasia, Opus 34
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David Pentecost
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SheetMusicPlus
The Pianist's Wind Chimes
Piano Facile
Easy Piano - Level 2 - Digital Download SKU: A0.999485 Composed by Alex Lewis. 20th…
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Easy Piano - Level 2 - Digital Download SKU: A0.999485 Composed by Alex Lewis. 20th Century,Contemporary,Instructional,Standards. Score. 3 pages. Alex Lewis #6261165. Published by Alex Lewis (A0.999485). The Pianist's Wind Chimes is a great original composition for piano students after their first year. It's in 5/8 time, which is not too common for students of this caliber to encounter. Except for a few measures in the middle of the piece, the meter never changes.This piece is also three pages long. That makes it somewhat longer than a typical beginner composition. Since it's a full three pages, The Pianist's Wind Chimes is great to perform at a student recital. You can listen to the YouTube video to find out how long it is. The video is a little over two minutes and thirty seconds long. I only decided on the name The Pianist's Wind Chimes because I thought it would be a cool name (ha ha!). .
$2.99
2.68 €
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Piano Facile
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Alex Lewis
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The Pianist's Wind Chimes
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Alex Lewis
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SheetMusicPlus
A Whitman Triptych: III. Facing West (Downloadable)
Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - Digi…
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Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.8323-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 9 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8323-E. Published by E. C. Schirmer Music Company - Digital (MQ.8323-E). UPC: 600313483233. English. The three a cappella choral pieces that comprise “A Whitman Triptych†were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass†was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed†as the basis for my composition “Invocation and Dance.†I went on to set “Good-Bye, My Fancy†for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road†for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. Facing West is drawn from the Children of Adam book from Walt Whitman's Leaves of Grass. The full title of the poem is Facing West From California's Shores. Though Whitman never visited California, his biographer Justin Kaplan made the insightful observation that he imagined California's shores to be the starting point for a journey through time and culture. Here was Walt, 'a child, very old,' facing home again, looking over to it, joyous, as after long travel, growth, and sleep, asking: 'But where is what I started for, so long ago?/And why is it yet unfound?' The invitation from the International Orange Chorale to compose a piece in honor of the 75th anniversary of the Golden Gate Bridge led me easily and naturally to this great poem. The tone of Facing West is rich and complex, and draws on one of Whitman's favorite themes of using travel to distant lands as a metaphor for spiritual development. In his poem, Whitman strikes notes of reflection, of longing for adventure, and ultimately ends with a question. The continuing relevance of this question is for me beautifully addressed by the contemporary American writer Edmund White in his 1980 book States of Desire. To paraphrase somewhat, White writes: California is where dreams may come true, and the problem it presents is whether, after all, we wanted these particular dreams to be fulfilled - or would we have preferred others? Did we know what price these dreams would exact? Did we anticipate the ways in which they would unsuit us for the business of daily life? Or should our notion of daily life itself be transformed? For Americans, California's coast is as far as one can go in establishing new roots and new ways of living. As a transplanted Midwesterner who has made California his home for nearly three decades, I experience the Golden Gate Bridge as a beautiful monument to the aspirations and dreams of a restless and inventive people, qualities that Whitman's poem captures perfectly. -David ConteDuration: 5:42
$2.65
2.37 €
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David Conte
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A Whitman Triptych: III. Facing West
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Five Miniatures for the Aspiring Brass Quintet, Op. 134
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet - Level 2 - Digital Download SKU: A0.1489486 Composed by Dr. Daniel N…
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Brass Quintet - Level 2 - Digital Download SKU: A0.1489486 Composed by Dr. Daniel N. Thrower. Chamber,Classical,Contest,Festival,Instructional. 45 pages. Https://gildedmusicpress.com/ #1066349. Published by https://gildedmusicpress.com/ (A0.1489486). This collection of short compositions for brass quintet was conceived specifically to supplement a dearth of appropriate and artistic original compositions for the young aspiring brass quintet. These pieces are most fitting for a good high school quintet or a beginning college ensemble that wants a conquerable challenge. With a variety of keys, styles, and tempos, they lend themselves well for deep work on the core ensemble skills of rhythmic accuracy, intonation, and dynamic balance. These brief works are also quite enjoyable for the professional quintet to perform for ever-popular school shows, or simply to read as a warmup with the focus of improving ensemble skills. Performance time for all five pieces is approximately five minutes.“Blackhawk” (duration 0:45) was originally composed in D-sharp minor as a melody to be used in Comprehensive Trumpet Skills, Book 9: Sightreading and Transposition (p. 39). The quintet version is in concert D minor for more manageable execution. This brisk four-four work is perhaps the most difficult in the collection, with demands of multiple tonguing for all the instruments as well as fairly advanced intervallic jumps. “Lamb of God” (duration 1:00) is one of many hymn tunes originally composed by Dr. Thrower for use in Comprehensive Trumpet Skills, Book 7: Ensemble Skills (p. 54), intended to be used to tune unisons and octaves. As a tuning study it was published in the key of F major for B-flat trumpet, or concert E-flat major. The quintet version retained the original key of concert E-flat. The reverently subdued four-four tempo makes this the easiest piece in the collection, technically, though the three core ensemble skills listed in the introductory paragraph (rhythm, intonation, and balance) must still be extensively addressed. The horn part is perhaps the most demanding in “Lamb of God,” with arpeggiated discant lines toward the end.“Summer Solstice” (duration 1:10) was started on June 21, 2023, which was the summer solstice. It is a bright, cheerful piece in concert F major with a lot of interest in all the parts. One source of the title’s inspiration came from my family’s new situation living in Tokyo, Japan, where the dawn sky brightens around 4:00 AM on the longest days of the year, which obviously coincide with the summer solstice. The 70-second piece was completed four days after conception while the long days started at their earliest.“Triumph: Children’s March” (duration 1:00) was the catalyst for this collection. It started as a cute little brass quintet piece in the key of concert B-flat major, to be performed for children, such as for school concerts. The cut-time tempo is very brisk for a march, but animated little legs (or a more manageable audience activity of clapping hands) can easily handle the task. Although the first trumpet part ends up on a high C, there is an alternate note for a more comfortable ending.“Waltzing Puma” (duration 0:30) is an evocative title for an evocative piece. Like “Blackhawk,” this melody was composed as a melody for Comprehensive Trumpet Skills, Book 9: Sightreading and Transposition (p. 36). The melodies in that series took on titles of military aircraft, and this one was the helicopter “Puma.” Since this tune is in a fast three-four, it became the “Waltzing Puma.” The quintet version retains the original key of concert F minor.
$24.95
22.34 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Dr
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Five Miniatures for the Aspiring Brass Quintet, Op. 134
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https://gildedmusicpress.com/
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SheetMusicPlus
Divertimento in B-Flat, K.439b no 2
3 Saxophones (trio)
Saxophone Trio,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor…
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Saxophone Trio,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1405116 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stevens. Chamber,Classical. 60 pages. SAXpress.com #988156. Published by SAXpress.com (A0.1405116). Divertimento in B Flat (1783) K439b no 2 W. A. Mozart ((1756 – 1791)) Saxophone Trio, flexible instrumentation Divertimento in B Flat K.439b by Mozart, arranged for sax trio, flexible instrumentation. This is number two of a set of five divertimentos written around 1783. Originally, the works were written for 3 basset horns but were also performed by other wind and string ensembles. They are commonly performed by two clarinets and a bassoon today. This arrangement is for saxophone trio with flexible scoring.Divertimento in B Flat has five movements: Allegro (Common time, tempo around 124 bpm, B-flat major throughout, about 2.25 minutes) Minuetto 1 (3/4 time, tempo around 124-136 bpm, ABA form, B-flat major to E-flat major to B-flat, about 3.75 minutes) Larghetto (3/4 time, tempo around 60 bpm, B flat major throughout, about 4 minutes) Minuetto 2 (3/4 time, tempo around 136 – 144 bpm, ABA form, B-flat major to F to B-flat major, about 3.5 minutes) Rondo (2/4 time, tempo around 144 – 152 bpm, ABACA form, B-flat major except when the C section wanders to F minor, about 3.25 minutes) The first movement features a lively main theme and a carefree, somewhat mellow alternate theme. Minuet 1 has a graceful main theme and relaxed, somewhat playful trio section. The movement three Larghetto is slow and dreamy. It even seems to yawn when the music several times indulges in long pauses. The second Minuet movement is livelier and a bit more colorful and playful than the first with a lively trio section. The concluding Rondo (Allegro) is energetic and colorful, with syncopations and interesting key shifts to add interest.This version of Divertimento in B-flat includes the following parts: Full trio score (C score), 20pp Part 1 – soprano saxophone, 8pp Part 2 – soprano saxophone 2, 8pp Part 2 – alto saxophone, 8pp Part 3 – tenor saxophone, 8pp Part 3 – baritone saxophone, 8pp The printed score and parts are 9″x 12″. The alternate parts included with this arrangement allow a great deal of flexibility in your ensemble. The parts can be played in any combination as long as part one, two, and three are covered. Probably Soprano-Alto-Tenor or Soprano-Alto-Baritone would be the most common grouping. However, even though it is not specified on the parts, there is no reason the piece could not be played by a Tenor/Tenor/Baritone ensemble. Also if a bass sax is available it could certainly cover the part 3 tenor sax part.
$24.95
22.34 €
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3 Saxophones (trio)
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Wolfgang Amadeus Mozart
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Robert Stevens
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Divertimento in B-Flat, K.439b no 2
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SAXpress.com
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SheetMusicPlus
Organ Symphony No. 11
Orgue
Organ - advanced - Digital Download Advent. Composed by Enjott Schneider. This editio…
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Organ - advanced - Digital Download Advent. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 22 minutes. Schott Music - Digital #Q11729. Published by Schott Music - Digital
Advent is a magical and mysterious season stretching across several long weeks: It is a culture of waiting. Hoping in the dark and in obscurity. Humility, quiet and togetherness - without the commercial derailment of materialistic gift-giving - are characteristic features of the Advent season. Seldom are people as close to the old traditions as during this introverted period. This is expressed by Organ Symphony No. 11 in four movements: 1. Veni redemptor omium, 2. Licht - Mitten im kalten Winter, 3. Nun komm der Heiden Heiland, 4. Toccata sopra 'Rorate caeli desuper'. Composed for one organ with at least three manuals.
$21.99
19.69 €
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Orgue
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Enjott Schneider
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Organ Symphony No. 11
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Schott Music - Digital
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SheetMusicPlus
Harmonic Étude V
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1011044 Composed by Daniel Alexande…
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Piano Solo - Level 5 - Digital Download SKU: A0.1011044 Composed by Daniel Alexander Apátiga. Contemporary,Instructional,Latin. Score. 17 pages. Daniel Alexander Apátiga #2967889. Published by Daniel Alexander Apátiga (A0.1011044). For virtuosic pianists who like to listen to Flamenco.Great for public concerts at concert halls, venues, pianist competitions, or for the purpose of impressing a lot of people.This piece is not appropriate for ill-equipped students and it is a great substitution to pieces created by the virtuosos of the Romantic period.This piece is designed to be performed at Churches because of its lifting-up, dance-like quality. Perfect for weddings, but less so during sermons.To perform this piece up to tempo, start slow repeating measures two-three times until it is in all three memory groups: muscular, visual, and auditory. Tweak your interpretation as you go along thinking about how what came before affected what comes after.This was composed in 2016, December, and on the piano.Approx. 5:15 minutes long.I have Soundcloud, but I do not have a recording of myself playing it yet. If you make a recording of yourself playing it, please let me know! Please message me on Soundcloud, email me, or call me with information about you and a link to your undoubtably fabulous interpretation! Thank you!My contact information:daniel-apatiga@uiowa.eduSoundcloud URL is https://soundcloud.com/daniel-alexander-ap-tigaTelephone # is 1-(319)-594-6456.
$2.59
2.32 €
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Piano seul
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Daniel Alexander Apátiga
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Harmonic Étude V
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Daniel Alexander Apátiga
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SheetMusicPlus
Unaccompanied Tuba Suite #1 in B-flat Major
Tuba
Tuba Solo - Level 3 - Digital Download SKU: A0.991803 Composed by Jason Allie. Baro…
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Tuba Solo - Level 3 - Digital Download SKU: A0.991803 Composed by Jason Allie. Baroque,Classical,Contemporary,World. Individual part. 9 pages. Joaba LLC #3109629. Published by Joaba LLC (A0.991803). DescriptionA delightful, intermediate level work suitable for encouraging students, hobbyists and professionals to improve or show off their performance skills. This lively work engages the audience with a breadth of moods from enlightening to reflective to celebratory. A great recital piece or encore piece to show off the melodiousness, harmoniousness and vibrancy of the tuba. Please send feedback, praises and more to contact@joaba.com.Total Duration: ~8 minutesPerformance Notes Prelude The real art of performing this piece is to master its dynamics. With the long pianissimo to forte crescendo at the introduction, the contrasting forte/mezzo piano sections and brisk, shorter crescendos for the cadences, the tubist must be aware of dynamics at all time and use them wisely.The second aspect to performing this piece is to contrast the 2 eighth note plus quarter note slurs motif against the arpeggiations. The introduction starts with the slurs and evolves into the arpeggiations by the first forte and the remaining piece explores the contrast between the two. Performers should feel free to try different dynamics, try different tempos (like zipping through the arpeggiations and slowing for the motif), etc. The goal is to bring the listener through the pleasantries of introductions to feel fresh and eager for further discourse ahead. March The rewarding challenge in this piece is to bring out the difference between cheery and con brio. The former being achieved by emphasizing the swaggering, strutting feel of the one-measure-per-beat feel and the latter by emphasizing the intervallic bounciness with the one-two march feel.Note that the motif (with the quarter note morphing into an eighth note) along with simpler arpeggiations are brought to play in a new manner reinforcing the positive mood from the prelude.The goal is to befriend the listener with an engaging, buoyant time. Air The tubist will exercise great breath control and phrasing to achieve a sublime solemnness counterbalancing the prior two movements.The motif now takes center stage headlining the main melodic phrases; however, here it is disjointed and conveys the sighing for the solemnness.After the pleasantness of the march, affableness having garnered friendship, we now open ourselves to share some somber matters and offer consolation. The intended goal here is to add depth to the relationship by addressing darker aspects in the discourse. Slip-jig Rondo Harking back to the compound meter of the prelude, this dance adventurously wakens the listener from the solemnness of the air asserting a new grandness and gladness. This is a slip-jig put into the rondo form so celebrate the main dance theme when it comes around and put fire and character into the transitions to make it worthwhile.The motif now jumps into the compound meter’s beat and morphs into three slurred, conjoint eighth notes. Now this motif enables several affects: exciting dance steps, transitions/modulations and concluding the phrases and the piece itself.The performer should aim to lead and amaze the listener with the waltz-like slip-jig rhythm and astound with the virtuosic transitions as a final send-off.
$9.99
8.95 €
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Tuba
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Jason Allie
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Unaccompanied Tuba Suite #1 in B-flat Major
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Joaba LLC
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SheetMusicPlus
4 x 2 x 1 Bass Trombone Solo with Double Trombone Quartet
Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.811134 Composed by Jim…
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Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.811134 Composed by Jim Pugh. 20th Century,Contemporary,Jazz. Score and parts. 43 pages. Gordon Cherry #5337657. Published by Gordon Cherry (A0.811134). Jim Pugh's 4 x 2 x 1 is written for Bass Trombone solo with a double Trombone Quartet accompaniment. It is appropriate for advanced performers and is about 8 1/2 minutes in length. Here is what Jim Pugh says about his composition 4 x 2 x 1: Dave Taylor and I have had a long musical association going back to my first recording sessions with him in New York in 1976 and continuing for 30+ years, including, among many things, two Pugh/Taylor Project recordings. When Dave was putting together the 1999 Manhattan School of Music Trombone Day, he asked me to write a piece featuring him along with his invited guest artists, the Four Of A Kind Trombone Quartet and the Vienna Trombone Quartet – hence the title: 4 (quartet) x 2 (two of them) x 1 (1 soloist). I enjoyed the opportunity to feature not only the bass trombone but, at times, the bass trombone trio that the orchestration provides. The piece is loosely in Rondo form. After an initial statement of the Theme, there follows three unrelated Vignettes separated by variations on the original Theme. A brief GP introduces an improvisation from the bass trombone soloist leading to the final statement of the Theme. The score reflects the correct positioning of the players, left to right, with the two quartet bass trombones on either end of the group and the two first tenor players in the middle, flanking the bass trombone soloist. A little aside here, the tenor trombone solo beginning in measure 77 was specifically written for another dear friend, colleague and collaborator, Joe Alessi. It was a great thrill and honor to have been asked to write music for not only Dave but also two of the best trombone quartets in existence at that time, knowing that anything I wrote would be so beautifully performed. This piece was recorded on the Signum Records CD: The Graham Ashton Brass Ensemble Plays The Music of James Pugh and Daniel Schnyder.
$35.00
31.35 €
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Jim Pugh
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4 x 2 x 1 Bass Trombone Solo with Double Trombone Quartet
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Gordon Cherry
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SheetMusicPlus
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