Jeremy Hart - Partitions musicales à imprimer - Mondial de la partition numérique

Jeremy Hart

Transience
Trompette

Trumpet Solo - Level 4 - Digital Download SKU: A0.1028191 Composed by Jeremy Hart. …(+)

Trumpet Solo - Level 4 - Digital Download SKU: A0.1028191 Composed by Jeremy Hart. 20th Century,Contemporary. Individual part. 3 pages. Jeremy Graham Hart #3558481. Published by Jeremy Graham Hart (A0.1028191). Transience is a work for solo trumpet written as an exploration into the use of the whole tone and half-whole scales as juxtaposed elements. Written originally as an exercise during my undergraduate studies it is one of the works which I enjoyed writing the most. It is approximately 3'15 long and does require the use of a bubble mute.If you would like to contact me you may find my facebook page at https://www.facebook.com/hartguitarist/.
$3.00 2.69 € #Trompette #Jeremy Hart #Transience #Jeremy Graham Hart #SheetMusicPlus

#Jeremy Hart

Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pages. Jeremy Graham Hart #6590413. Published by Jeremy Graham Hart (A0.1028192). Oscillation began as an experiment in coordination of a melody and harmony which are based on different means of organization. To this end, the clarinet is treated separately from the string quartet. The clarinet melody is constructed by means of limited interval usage. In mm.1â€“3 it can be observed that the melodic intervals are strictly limited to the use of a major 2nd/minor 7th or a major 6th/minor 3rd. By contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key. In addition, despite the proliferation of non-chord tones and transitionary passages in the string quartetsâ€™ music, the stable harmonies are written to have fairly parsimonious motion between them (if one were to reduce out the NCTs etc.) The coordination of these two separate logics is done by the selection of anchor-pitches for the melodic phrases. For example, the melodic phrase in mm.4â€“7 oscillates around the pitch of G natural (transposed in the score), which it shares with the F major/minor 7th chord that is heard as the harmonic goal of the strings in m.7. The teleology of the work can largely be traced in its melodic construction. Its opening phrase of mm.1â€“3 is anchored on G natural and ends on a C sharp, a tritone above the anchor, to simulate a half-cadence effect. The second phrase of mm.4â€“7 is still written on G natural but it ends on G as well, forming the authentic cadence and establishing a basic period as well as the workâ€™s first theme. This is followed by second period which represents a dominant relationship to the first. The phrase at mm.10â€“13.2 is a rather extended utterance in comparison to the first two and is anchored on D natural. This is followed by 4-stage call and response across the ensemble (excluding the second violin) that leads the first section to a close at m.16 on a C diminished triad. Melodically, the first section is characterised by its limited used of a major 2nd/minor 7th or a major 6th/minor 3rd interval. At m.17, the second section follows much the same process as the first, using anchor pitches as a means of coordination and formal definition, and alternating soloistic clarinet playing with activated harmonies in the strings. The primary difference is in the character of the second sectionâ€™s theme with regards to its rhythmic profile as well as its intervallic content. Namely, these are limited to the use of a minor 3rd or minor 2nd and their inversions. The second section draws to a close at m.32, returning to the tonic harmony of the key. With the first and second sections complete, the work now proceeds into a developmental section. Mm.33â€“84 largely consists of development of the two themes by manipulation of intervallic content as well as adjusting the placement of the thematic material withing the accompanimental context. This does include juxtaposition of the two themes (though one typicall becomes integrated into to accompaniment) as can be seen between the violin and viola at m.39. Variety is heightened by the introduction of episodic material such as the secondary melody performed by the clarinet at mm.40â€“41. The Lento section starting at m.53 introduces further rhythmic and metric adjustment of the thematic content. A varied recapitulation occurs at mm.85â€“113 and is followed by a coda at mm.114â€“131.

Small Ensemble B-Flat Bass Clarinet,Percussion,Soprano voice - Level 4 - Digital Download SKU: A0.1102258 Composed by Jeremy Hart. 20th Century. Score and parts. 13 pages. Jeremy Graham Hart #705661. Published by Jeremy Graham Hart (A0.1102258). 18/04/â€™21: A Reflection is written as a tentative expression of the tumultuous emotions experienced by the composer, upon watching so many landmarks of their home be threatened or destroyed by the fire which ravaged Table Mountain on the 18th and 19th of April 2021. The most impactful symbol of this tragedy is, for the composer, the heart-rending body of images showing the Jagger Reading Room ablaze. The score expresses the composerâ€™s experiences in a collage, drawing from C. Debussyâ€™s La Cathedral Engloutie and W. A. Mozartâ€™s Requiem in evocation of the emotions surrounding the burning library, and enacts them in a three-part narrative. The opening is articulated as a collection of sporadic outbursts heard against a slower melody and a rising bell motif. This is an evocation of the shifting uncertainty of the early hours of the fire shortly after it had consumed the Rhodes Memorial Restaurant. This slowly becomes the evocation of horror and dismay that characterises the second section, as the fire takes hold of Mostertâ€™s Mill, various parts of the University of Cape Town forcing students into a full evacuation of their residences, and eventually the Jagger Reading Room. The finality of the second sectionâ€™s ending is followed by the muted resignation and mourning of the third and final section. The slowed melody from the first section returns, without the frenetic outbursts. All the listener is left with is the certainty of what has happened. The melody tries to rise to triumph, as the fire is held back from any further destruction, but ultimately falls back down and limps its way to an unsatisfactory and inconclusive closing statement.

Dialethia
Guitare

Solo Guitar - Level 4 - Digital Download SKU: A0.1028190 Composed by Jeremy Hart. 2…(+)

Solo Guitar - Level 4 - Digital Download SKU: A0.1028190 Composed by Jeremy Hart. 20th Century,Contemporary. Individual part. 8 pages. Jeremy Graham Hart #6590411. Published by Jeremy Graham Hart (A0.1028190). Dialethia is, at its core, an internal dialogue on style, musical language and authenticity. Through its many, abrupt and questioning diversions it portrays a process of self-interrogation which can become quite confrontational at times. Despite this the music always returns to the simple diatonic melody that forms the principle character of this work, regardless of the metamorphoses of its harmonization. This is of course with the exception of the closing passages, in which the work retains a melodic construction of limited intervallic usage taken from the previous diversion. Though, whether this retention represents an answer or a lingering question is not made clear.
$4.99 4.48 € #Guitare #Jeremy Hart #Dialethia #Jeremy Graham Hart #SheetMusicPlus