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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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BASSE
BASSON
BATTERIE
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CHORALE - CHAN…
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HARPE
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1814
PIANO & CLAVIERS
Piano seul
1451
Piano Facile
401
Piano, Voix
286
Piano, Voix et Guitare
278
Instruments en Do
226
Orgue
64
Accompagnement Piano
61
1 Piano, 4 mains
47
1 Piano, 6 mains
19
2 Pianos, 4 mains
19
Piano (partie séparée)
17
Piano Trio: piano, violon, violoncelle
17
Piano Quatuor: piano, violon, alto, violoncelle
12
Piano grosses notes
10
2 Pianos, 8 mains
7
Accordéon
4
Clavecin
4
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Orgue, Trompette (duo)
3
Orgue, Piano (duo)
3
Piano Quatuor: piano, 2 violons, violoncelle
1
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GUITARES
Guitare notes et tablatures
136
Guitare
106
Guitare (partie séparée)
40
Ligne De Mélodie, (Paroles) et Accords
31
Paroles et Accords
27
Ukulele
20
2 Guitares (duo)
14
Dulcimer
13
Basse electrique
11
Banjo
5
Piano, Guitare (duo)
4
Mandoline
4
Basse électrique (partie séparée)
3
4 Guitares (Quatuor)
2
Ensemble de guitares
2
2 Mandolines (duo)
1
3 Guitares (trio)
1
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VOIX
Chorale SATB
606
Chorale 3 parties
154
Chorale TTBB
109
Chorale 2 parties
81
Chorale Unison
55
Chorale SSAA
50
Voix Soprano, Piano
25
Voix duo
16
Voix Alto, Piano
10
Chorale
10
Voix seule
9
Voix duo, Piano
9
Chorale SSAATTBB
6
Voix haute
5
Voix Tenor, Piano
4
Chorale SSATTB
3
Voix Tenor
2
Voix Mezzo-Soprano, Piano
2
Chorale SSAB a cappella
2
Voix basse, Piano
2
Voix moyenne, Piano
2
Voix Baryton, Piano
2
Chorale SSATB
1
Voix d'Enfants
1
Voix Soprano, Orchestre
1
Soli, choeur mixte et accompagnement
1
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VENTS
Saxophone (partie séparée)
146
Quatuor de Saxophones: 4 saxophones
120
Flûte traversière et Piano
112
Flûte, Hautbois, Clarinette, Basson
90
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
81
Clarinette et Piano
80
Clarinette
73
Saxophone Alto et Piano
68
2 Saxophones (duo)
59
Flûte traversière
56
2 Flûtes traversières (duo)
53
Clarinette (partie séparée)
53
Hautbois, Piano (duo)
52
Saxophone Alto
45
Quintette de Saxophone: 5 saxophones
43
Quatuor de Clarinettes: 4 clarinettes
42
Clarinette, Harpe (duo)
42
Saxophone et Harpe
41
Saxophone Tenor et Piano
38
Hautbois, Harpe
36
2 Clarinettes (duo)
35
Saxophone Soprano et Piano
31
Saxophone Tenor
29
Ensemble de saxophones
27
Saxophone Baryton, Piano
25
Flute (partie séparée)
24
Ensemble de Clarinettes
23
Saxophone, Clarinette (duo)
21
Hautbois (partie séparée)
19
Quatuor de Flûtes : 4 flûtes
18
2 Hautbois (duo)
18
Cor anglais, Piano
18
Clarinette, Violon (duo)
15
Ensemble de Flûtes
14
3 Saxophones (trio)
14
Clarinette, Trompette (duo)
13
Flûte, Clarinette (duo)
13
Clarinette Basse, Piano
13
Hautbois
12
Quintette de Clarinettes: 5 clarinettes
11
Flûte et Guitare
9
Clarinette et Alto
9
Saxophone Baryton
9
Hautbois, Basson (duo)
9
Flûte, Saxophone (duo)
8
Hautbois, Clarinette (duo)
8
Flûte, Violon
8
3 Clarinettes (trio)
8
Saxophone Soprano
8
Trio de Flûtes: 3 flûtes
8
Flûte à Bec
7
Flûte, Trompette (duo)
7
Flûte, Hautbois, Clarinette (trio)
7
Hautbois, Flûte
6
Flûte, Alto (duo)
5
Cor Anglais
5
Flûte à bec Soprano
4
Flûte, Violon, Piano
4
Quatuor de Flûtes à bec
4
Ocarina
3
Flûte, Violoncelle, Piano (trio)
3
Clarinette, Violoncelle (duo)
3
2 Clarinettes, Piano
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Flûte à bec Alto
3
5 Flûtes à bec
3
Instruments en Mib
2
Quintette de Flûte : 5 flûtes
2
Piccolo, Piano
2
Flûte, Clarinette et Basson
2
3 Hautbois
2
Flûte, Clarinette, Piano (trio)
2
Flûte, Violoncelle
2
Flûte et Trio à cordes
2
Flute, harpe et violon
2
Clarinette, Guitare (duo)
2
Hautbois, Violoncelle
2
Clarinette, Violoncelle, Piano (trio)
2
Clarinette, Alto et Piano (trio)
1
Harmonica
1
Flûte, Basson et Piano
1
Flûte à bec Tenor
1
Piccolo
1
2 Flûte à bec (duo)
1
Clarinette, Orgue
1
Flûte, Alto et Piano
1
Saxophone
1
Clarinette, Basson, Piano (trio)
1
Flûte à bec Soprano, Piano
1
Hautbois, Guitare (duo)
1
3 Flûtes à bec (trio)
1
Flûte, Hautbois, Basson
1
2 Flûtes traversières, Piano
1
Saxophone et Guitare
1
Clarinette, Basson (duo)
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Flûte à bec Alto, Piano
1
Flûte, Alto et Violoncelle
1
Clarinette Basse
1
2 Clarinettes, Basson
1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
153
Trombone (partie séparée)
126
Trompette
116
Trompette (partie séparée)
99
Quatuor de Cuivres : 2 trompettes, trombone, tuba
65
Cor et Harpe
50
Cor
47
Trompette, Piano
45
Trombone et Piano
43
Trombone
42
Trompette, Harpe
37
Cor et Piano
33
Tuba (partie séparée)
30
Euphonium, Piano (duo)
27
Quatuor de Cuivres: 2 trompettes, Cor, trombone
26
Cor (partie séparée)
25
2 Trompettes (duo)
19
Cor anglais, Piano
18
Trompette, Saxophone (duo)
15
Tuba et Piano
15
Quatuor de Cuivres
15
Tuba
15
2 Trombones (duo)
14
2 Cors (duo)
11
Ensemble de Trombones
10
Trompette, Trombone (duo)
10
Cornet A Pistons
7
Quatuor de cuivres: 4 trombones
6
Cor Anglais
5
2 Tubas (duo)
5
Bass Clef Instruments
4
Ensemble de Trompettes
4
3 Trombones (trio)
3
Quatuor de cuivres: 4 cors
3
2 Euphoniums et 2 Tubas
3
Instruments en Sib
2
4 Tubas
2
Tuba ou Euphonium ou Saxhorn
2
Trombone basse
2
2 Euphoniums (duo)
2
3 Trompettes (trio)
2
Quatuor de cuivres: 4 trompettes
1
Trompette, Cor (duo)
1
Euphonium
1
Trio de Cuivres
1
Euphonium, Tuba (duo)
1
Tuba et Orgue
1
Clarinette, Cor (duo)
1
Trompette, Trombone, Piano
1
Cor, Violoncelle (duo)
1
Ensemble de Cors
1
Trombone et orchestre
1
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CORDES
2 Harpes (duo)
330
Quatuor à cordes: 2 violons, alto, violoncelle
275
Harpe
193
Violon et Piano
131
Violon
85
Violoncelle, Piano
79
Harpe, Violon (duo)
72
Alto, Piano
61
Violoncelle
61
Harpe, Violoncelle (duo)
60
Harpe, Flûte (duo)
51
Violon, Violoncelle (duo)
47
Trio à Cordes: violon, alto, violoncelle
44
Contrebasse (partie séparée)
44
Alto et Harpe
38
Alto seul
36
Violon (partie séparée)
29
2 Violons (duo)
29
Quintette à cordes: 2 violons, alto, violoncelle, basse
27
Violon, Alto (duo)
22
2 Violoncelles (duo)
21
Contre Basse
16
Trio à Cordes: 2 violons, violoncelle
16
2 Altos (duo)
15
Contrebasse, Piano (duo)
12
Alto (partie séparée)
12
Harpe, Trombone (duo)
11
Violoncelle (partie séparée)
9
Alto, Violoncelle (duo)
6
Trio à Cordes: 3 violoncelles
5
4 Violoncelles
4
Piano Trio: Violon, Alto, Piano
3
Harpe, Voix
3
Ensemble d'Altos
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Harpe et Piano
3
Ensemble de Violons
3
Violon, Guitare (duo)
3
Harpe et mandoline
2
Ensemble de Violoncelles
2
2 Contrebasses (duo)
2
Quatuor à cordes: 4 violons
1
Alto et Basson
1
Violon, Basson (duo)
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Trio à cordes: 3 violins
1
Violon, Clarinette, Piano (trio)
1
Violoncelle , Guitare (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
916
Cloches
450
Orchestre
159
Orchestre à Cordes
137
Ensemble Jazz
88
Ensemble de cuivres
57
Orchestre de chambre
37
Batterie (partie séparée)
36
Jazz combo
25
Fanfare
20
Batterie
20
Ensemble de Percussions
19
Percussion (partie séparée)
19
Percussion
10
Marimba
7
2 Xylophones
4
Timbales (partie séparée)
4
Quintette de Cuivres: autres combinaisons
3
Vibraphone
2
Xylophone, Piano
2
Quintette à Vent
1
2 Marimbas
1
Xylophone
1
Bodhran
1
Piano et Orchestre
1
Timbales
1
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AUTRES
Formation musicale - Solfège
1
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Personalizing Jazz Vocabulary
Formation musicale - Solfège
Theory and reference - other - Intermediate-Advanced - Digital Download Composed by D…
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Theory and reference - other - Intermediate-Advanced - Digital Download Composed by Davy Mooney. Jazz and Contemporary. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30786MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619119345.<br> <br> This method book is designed to help intermediate to advanced jazz students incorporate classic jazz vocabulary into their original improvisations. Using a series of standard and modern chord progressions, guitarist Davy Mooney provides several short passages that are meant to be played exactly as written within an otherwise improvised solo; students are expected to adapt this written material to their own purposes by improvising into and out of it.In an effort to overcome the disconnect between developing a unique sound and learning the language of past jazz masters, the author eloquently analyzes several phrases and chord changes and comments on various aspects of improvisation, referencing the styles and specific recordings of many outstanding jazz artists. This is the method that Mooney used as a student to personalize his own jazz vocabulary and learn to express himself within the context of the jazz tradition.Mooney proves he has both the vocabulary and the chops to deliver generously repeated guitar/bass/drums backup tracks for student use; he then demonstrates the method by providing transcriptions of his own improvisations, incorporating the same phrases and chord progressions required of the student. The firm message conveyed by this book is that, ayou can do it too.aWritten in standard notation only. Includes access to online audio.
$17.99
16.12 €
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Formation musicale - Solfège
#
Davy Mooney
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Personalizing Jazz Vocabulary
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Mel Bay Publications - Digital Sheet Music
#
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
21.5 €
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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
It Don't Mean a Thing (If It Ain't Got That Swing)
Piano, Voix et Guitare
By Tony Bennett. By Duke Ellington (1899-1974). Standards. 4 pages. Alfred Music - D…
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By Tony Bennett. By Duke Ellington (1899-1974). Standards. 4 pages. Alfred Music - Digital Sheet Music #00-PS-0015717. Published by Alfred Music - Digital Sheet Music
ISBN 9780739099339. Irving Mills.<br> <br> No one in popular American music has recorded for so long and at such a high level of excellence as Tony Bennett. This collection of classics spans his career from the beginning, to the current hits he continues to send onto the charts. Also included are rare photos, a biography, and a timeline of Tony's career highlights. Titles: Because of You * The Best Is Yet to Come (with Diana Krall) * Blue Velvet * Body and Soul (with Amy Winehouse) * The Boulevard of Broken Dreams * Don't Get Around Much Anymore (with Michael BublA(c)) * Fly Me to the Moon (In Other Words) * For Once in My Life (with Stevie Wonder) * How Do You Keep the Music Playing? * I Left My Heart In San Francisco * I Wanna Be Around (with Bono) * If I Ruled the World * It Don't Mean a Thing (If It Ain't Got That Swing) * It Had To Be You (with Carrie Underwood) * Just in Time * The Lady Is a Tramp (with Lady Gaga) * Mood Indigo * My Favorite Things * Night and Day * Once Upon a Time * One for My Baby (And One More for the Road) * Put On a Happy Face (with James Taylor) * Rags to Riches * The Shadow of Your Smile * Smile (with Barbra Streisand) * Speak Low (with Norah Jones) * Steppin' Out with My Baby * Stranger in Paradise (with Andrea Bocelli) * This Is All I Ask (with Josh Groban) * The Very Thought of You (with Paul McCartney) * The Way You Look Tonight (with Faith Hill) * When Do the Bells Ring for Me (with Mariah Carey) * When Joanna Loved Me * Who Can I Turn To When Nobody Needs Me (with Queen Latifah) * Yesterday I Heard the Rain (with Alejandro Sanz).
$3.99
3.58 €
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Piano, Voix et Guitare
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Tony Bennett
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It Don't Mean a Thing
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Classical Music for Children
Guitare
Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel.…
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Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel. This edition: Sheet music. Klassik, Renaissance, Barock, Romantik, Gitarre. Classical Music for Children. Downloadable. Schott Music - Digital #Q25984. Published by Schott Music - Digital
This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.
$11.99
10.75 €
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Guitare
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Martin Hegel
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Classical Music for Children
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Schott Music - Digital
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SheetMusicPlus
Classical Music for Children
Guitare
Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel. T…
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Guitar - easy - Digital Download 58 Easy Pieces for Guitar. Arranged by Martin Hegel. This edition: Sheet music. Orchestermusik, Kammermusik, Oper. Classical Music for Children. Downloadable. Schott Music - Digital #Q54262. Published by Schott Music - Digital
This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.
$13.99
12.54 €
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Guitare
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Martin Hegel
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Classical Music for Children
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Schott Music - Digital
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SheetMusicPlus
Let There be Music
Chorale SATB
SATB choir - Digital Download SKU: LX.15-1485H Composed by Linda Spevacek. Educatio…
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SATB choir - Digital Download SKU: LX.15-1485H Composed by Linda Spevacek. Educational. Octavo. 16 pages. Heritage Music Press #e15/1485H. Published by Heritage Music Press (LX.15-1485H). UPC: 000308044416.Let there be singing!... for the world needs music, and our lives need music and a song! Commissioned by the Texas MEA Region 3 choirs, this piece briefly showcases a variety of musical styles, including the color of a fanfare, a rhapsody, jazz, and gospel, along with opportunities for optional solos.
$2.75
2.46 €
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Chorale SATB
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Linda Spevacek
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Let There be Music
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Heritage Music Press
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SheetMusicPlus
Sitivit anima mea
Choir unisono and mixed choir or soloistssten (SSATB) a cappella - Digital Download SKU…
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Choir unisono and mixed choir or soloistssten (SSATB) a cappella - Digital Download SKU: S9.Q21576 My soul has thirsted. Composed by Matthew Brown. This edition: choral score. Schott Choral Music. Downloadable, Choral score. Duration 6' 35. Schott Music - Digital #Q21576. Published by Schott Music - Digital (S9.Q21576). Latin.Meine Seele dürstet nach Gott, nach dem lebendigen Gott – diese Psalmvertonung wird von einem kleinen und einem größeren Chor antiphonisch vorgetragen. Mit zarten Harmonien, ruhigem Gestus und spannungsgeladenen Zwischenteilen wirkt das Stück besonders in Räumen mit unterstützender Akustik.
$4.99
4.47 €
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Matthew Brown
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Sitivit anima mea
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Schott Music - Digital
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SheetMusicPlus
Veritas mea
Chorale SATB
Mixed choir - Digital Download SKU: S9.Q20692 Psalm 88,25. Composed by Aless…
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Mixed choir - Digital Download SKU: S9.Q20692 Psalm 88,25. Composed by Alessandro Scarlatti. This edition: choral score. Downloadable. Schott Music - Digital #Q20692. Published by Schott Music - Digital (S9.Q20692). German • Latin.From the collection Mainzer Chorbuch.
$2.99
2.68 €
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Chorale SATB
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Alessandro Scarlatti
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Veritas mea
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Schott Music - Digital
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SheetMusicPlus
Lauda, anima mea, Dominum
Chorale SATB
Mixed choir - Digital Download SKU: S9.Q20676 Psalm 146,1-2. Composed by Pet…
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Mixed choir - Digital Download SKU: S9.Q20676 Psalm 146,1-2. Composed by Peter Paul Foerster. This edition: choral score. Downloadable. Schott Music - Digital #Q20676. Published by Schott Music - Digital (S9.Q20676). German • Latin.From the collection Mainzer Chorbuch.
$2.99
2.68 €
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Chorale SATB
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Peter Paul Foerster
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Lauda, anima mea, Dominum
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Schott Music - Digital
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SheetMusicPlus
Musica arcaica No. 1
Violoncelle, Piano
Violin, cello and piano - difficult - Digital Download SKU: S9.Q6972 Studies on …
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Violin, cello and piano - difficult - Digital Download SKU: S9.Q6972 Studies on the Cypriot Folk Song 'The Shepherd'. Composed by Enjott Schneider. This edition: score and parts. Folk song. Downloadable, Score and parts. Duration 11 minutes. Schott Music - Digital #Q6972. Published by Schott Music - Digital (S9.Q6972). 'Musica arcaica No.1' is the first piece in a series of chamber music works in which Schneider as a composer examines music of other cultures (songs, dances among others). The old Cypriot shepherd's song Voskos inspired the composer to apply the archaic composition techniques of drone, heterophony and ostinato. The song expresses different moods: The first half of the song is dominated by the yearning lament 'Im Pferch eingesperrt bin ich geboren, im Pferch werde ich sterben'. The second half sets the ecstatically and defiantly, but also proudly sustained thought of death 'Niemand von euch kennt den Tod, noch das Altern!' to music. Schneider presents these emotions in a convincing and exciting manner by means of instruments.
$23.99
21.5 €
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Violoncelle, Piano
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Enjott Schneider
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Musica arcaica No. 1
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Schott Music - Digital
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SheetMusicPlus
Rameau: Musette en Rondeau (for piano) as played by Víkingur Ólafsson
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1354241 By Jean-Philippe Rameau and…
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Piano Solo - Level 3 - Digital Download SKU: A0.1354241 By Jean-Philippe Rameau and VÃkingur Ólafsson. By Jean-Philippe Rameau. Arranged by Flavio Regis Cunha. Baroque,Classical,Contest,Early Music,Festival,Instructional. Score. 8 pages. Flavio Regis Cunha #938930. Published by Flavio Regis Cunha (A0.1354241). Rameau: Musette en Rondeau (for piano) as played by VÃkingur Ólafsson.IntermediateFormat: Concert, 9 x 12 inches6 pagesContent: Full ScorePLUS!!! Engraved with Urtext Kapellmeister Music FontUnlock the Magic of Rameau's Musette en Rondeau Calling all pianists, from beginners to maestros! Elevate your musical journey with the exquisite sheet music of Musette en Rondeau for piano, composed by the legendary Jean-Philippe Rameau and brilliantly played by the sensational Icelandic pianist, VÃkingur Ólafsson. Why Choose Our Sheet Music?1. Authenticity:Immerse yourself in the true essence of Rameau's masterpiece with meticulously transcribed sheet music that captures every nuance of VÃkingur Ólafsson's mesmerizing interpretation.2. **Precision:** Crafted with precision and care, our sheet music ensures an accurate representation of the intricate notes and dynamics, providing you with a faithful guide to recreate the magic in your own performance.3. **Emotional Connection:** Feel the emotional resonance of Musette en Rondeau with sheet music that reflects the passion and artistry of VÃkingur Ólafsson, allowing you to express yourself through every enchanting phrase.4. **Suitable for All Levels:** Whether you're a professional pianist seeking a challenging masterpiece or an amateur pianist aspiring to grow, this sheet music accommodates all skill levels, making the beauty of Rameau's composition accessible to everyone.  Let Your Fingers Dance to the Melody!Order now and embark on a musical journey that transcends time and space. Unleash the power of Musette en Rondeau and let your piano sing with the soul-stirring emotions inspired by VÃkingur Ólafsson's extraordinary rendition.Elevate Your Performance, Elevate Your Artistry! Don't miss this opportunity to own a piece of musical history. Order your sheet music today and bring the timeless brilliance of Rameau to life at your fingertips!
$7.99
7.16 €
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Piano seul
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Jean-Philippe Rameau and VÃkingur Ólafsson
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Flavio Regis Cunha
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Rameau: Musette en Rondeau
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Flavio Regis Cunha
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SheetMusicPlus
What Christmas Means
Chorale 3 parties
3-part mixed choir, Piano - Digital Download SKU: LX.15-3644H Composed by Bryan Sha…
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3-part mixed choir, Piano - Digital Download SKU: LX.15-3644H Composed by Bryan Sharpe. Educational, Secular Christmas. Octavo. 12 pages. Heritage Music Press #e15/3644H. Published by Heritage Music Press (LX.15-3644H). ISBN 9780787764630.And what Christmas means to each of us is what makes the season bright. And our Christmas cheer is meant to be shared, and can heal a broken heart. Love will help us remember what Christmas means. Program this touching original Christmas ballad to bring light to why we celebrate this season of the year. Comfortable ranges and strong voice leading throughout help to speed up learning time.
$2.50
2.24 €
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Chorale 3 parties
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Bryan Sharpe
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What Christmas Means
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Heritage Music Press
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SheetMusicPlus
It Don't Mean A Thing (Ellingthoven)
Piano seul
By Duke Ellington. Arranged by Bradley Sowash. Individual Part. 12 pages. Published by…
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By Duke Ellington. Arranged by Bradley Sowash. Individual Part. 12 pages. Published by Bradley Sowash Music
Great for encores!<br> <br> Suppose the great American jazz composer Duke Ellington and classical music giant Beethoven meet in heaven. They would find they have a lot in common. Both epitomize their musical time, place, and culture. Both are powerful pianists widely admired for their improvisational abilities. They decide to collaborate. Beethoven insists on creating the introduction and a cadenza (the point near the end of concertos where the featured musician tries to squeeze in as many notes as possible into a small amount of time). Ellington agrees to handle the main theme allowing room for improvisation along the way. Together, they hammer out a piece sadly destined only for celestial ears unless some mortal can be found to perform it for earthlings. I'm the lucky one they choose. This is the result.
$6.99
6.26 €
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Piano seul
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Duke Ellington
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It Don't Mean A Thing
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Bradley Sowash Music
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SheetMusicPlus
ISADAR - In Search For The Meaning Of Christmas (complete collection)
Piano seul
Piano Solo, Collection / Songbook - Advanced Intermediate - Digital Download Compos…
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Piano Solo, Collection / Songbook - Advanced Intermediate - Digital Download Composed by Public Domain, as performed and recorded by Isadar. Arranged by Isadar. Neo-Classical, Christmas, Children's Music, Recital, New Age. 50 pages. Published by Mainya Music Publishing (BMI)
Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story's "The Gift", George Winston's "December", early Windham Hill solo piano artists, and "A Winter's Solstice" compilations.<br> <br> <br> Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording<br> <br> Contents:<br> 1. Bring A Torch (Bring A Torch, Jeanette, Isabella)<br> 2. Children Go Where I Send Thee / The Holly & The Ivy<br> 3. Star Of Wonder (We Three Kings of Orient Are)<br> 4. Silent (Silent Night, Holy Night)<br> 5. Midnight (It Came Upon the Midnight Clear)<br> 6. What Child Is This?<br> 7. Greensleeves (homage to Liz Story)<br> 8. Three Ships (I Saw Three Ships, Come Sailing In)<br> 9. The Coventry Carol (Lully, Lulla, Lullay)<br> 10. Sing We Now Of Christmas (Noël Nouvelet)<br> 11. Carol Of The Bells<br> <br> Album & Songbook review by: Kathy Parsons (MainlyPiano.com):<br> <br> I have discovered a real wealth of great solo piano Christmas CDs this year! Isadar’s In Search For the Meaning of Christmas definitely falls into this category! Thoughtful, introspective, and a bit moody, Isadar’s arrangements are true to the carols (with some small melody changes in “Bring a Torch” and “Carol of the Bells” that bother me just a little) and still seem very personal. “Bring a Torch”, “The Holly and the Ivy”, and “I Saw Three Ships” are given a lighthearted, joyful treatment. “Star of Wonder (We Three Kings)”, “What Child Is This?”, “The Coventry Carol”, and “Sing We Now of Christmas” are all minor, somber, reverent pieces, and all four are given loving arrangements that keep the dark, mysterious nature of the songs and reflect Isadar’s own sensibilities. “Carol of the Bells” and Isadar's take on Liz Story’s arrangement of “Greensleeves” are energetic without losing all abandon. “Silent Night” and “It Came Upon a Midnight Clear” present us with a very cold, deep solitude - both feel like late night with moonlight reflecting off the snow. Both are moody, but very beautifully so. George Winston’s “December” is one of my all-time favorite holiday albums, and I feel In Search For the Meaning of Christmas holds up exceptionally well next to it. This is an excellent collection of Christmas music, and I highly recommend it!<br> <br> In Search For the Meaning of Christmas is the companion songbook to Isadar’s 1999 solo piano release by the same name. Meticulously transcribed note-for-note by David Shenton of New York Music Publishing, the music is faithful to the recording in every way (except for the pianist - YOU!). The scores are clear, concise, and easy to read, and also include chord indications for improvisation or the use of instruments other than or in addition to the piano. Isadar’s arrangements cover a whole range of emotions, from very dark and somber to joyful and buoyant. All of the pieces from the CD are here, including Isadar’s homage to Liz Story and her beautiful version of “Greensleeves.” My personal favorites of the eleven songs in this book are the bright and cheerful “Bring A Torch,” “What Child Is This?”, “Greensleeves,” the darkly gorgeous “The Coventry Carol,” and “Sing We Now of Christmas.” Other titles that I really like are “Children Go Where I Send Thee/The Holly and the Ivy,” “Star of Wonder (We Three Kings)," “Carol of the Bells,” and the effervescent “Three Ships.” “Silent” (Silent Night) and “Midnight” (It Came Upon a Midnight Clear) are a bit too dark for my own holiday tastes, but are interesting and very personal arrangements. This book will make a great addition to your holiday sheet music collection and is available from isadar.com and amazon.com.<br> <br> Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...<br> <br> Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.<br> <br> For more information, visit his website at: http://www.isadar.com
$49.99
44.8 €
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Piano seul
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Public Domain, as performed and recorded by Isadar
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Isadar
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ISADAR - In Search For The Meaning Of Christmas
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SheetMusicPlus
O dulce vita mea
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.692170 Composed by Diego Pisador. Arran…
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Guitar - Level 1 - Digital Download SKU: A0.692170 Composed by Diego Pisador. Arranged by Mark Phillips. Renaissance. Guitar Tab. 2 pages. A. J. Cornell Publications #6256909. Published by A. J. Cornell Publications (A0.692170). Diego Pisador’s O dulce vita mea (from Libro de Musica de Vihuela) for easy classical guitar solo
$1.99
1.78 €
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Guitare notes et tablatures
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Diego Pisador
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Mark Phillips
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O dulce vita mea
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A. J. Cornell Publications
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SheetMusicPlus
Guitar Compendium
Guitare
Technique / improvisation / musicianship / theory. This edition: method. Instrumenta…
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Technique / improvisation / musicianship / theory. This edition: method. Instrumentalunterricht, Gitarre, Theorie. The Praxis System. Downloadable. Op. Vol. 1. Advance Music #Q54672. Published by Advance Music
English.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or
$23.99
21.5 €
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Guitare
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Guitar Compendium
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Advance Music
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SheetMusicPlus
Meat Salad for Solo Bass Trombone
Trombone basse
Bass Trombone - Advanced - Digital Download Composed by Jim Hopson. 21st Century, Con…
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Bass Trombone - Advanced - Digital Download Composed by Jim Hopson. 21st Century, Contemporary Classical, Jazz, Blues, Funk Jazz. Solo Part. 3 pages. Published by Cherry Classics Music
Item Number: S0.714033<br> <br> ‘Meat Salad’ is a new piece for solo bass trombone commissioned by Ilan Morgenstern of the Vancouver Symphony Orchestra. Inspired in part by the slap-bass stylings of artists like Bootsy Collins and in part by the inimitable trombone playing of ‘Funky Fred’ Wesley, this piece is simultaneously a groovy crowd-pleaser and an acrobatic showstopper. ‘Meat Salad’ gives the advanced bass trombonist the opportunity unleash his/her full repertoire of tricks including: trills, growls, turns, glissandi, extended range, and just about every type articulation imaginable.<br> <br> This piece was premiered in August 2019 at the 2nd annual Vancouver Trombone Week, with the composer adding an emphatic (if unsophisticated) cowbell accompaniment to Morgenstern’s bass trombone.<br> <br> For advanced performers.<br> <br> Below is a short track of Meat Salad brilliantly performed by Vancouver Symphony Bass Trombonist Ilan Morgenstern.
$20.00
17.92 €
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Trombone basse
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Jim Hopson
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Meat Salad for Solo Bass Trombone
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Cherry Classics Music
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SheetMusicPlus
Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) - D MAJOR VERSION
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1764…
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Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1764). Arranged by Trancribed by Flavio Regis Cunha. Baroque Period, Early Music, Wedding, Graduation, Recital. Score. 12 pages. Published by Flavio Regis Cunha
Les Boréades is a tragédie lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Boréades are the descendants of Boréas. 'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Boréades?, written in 1763 when Rameau was 80. Ólafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, Ólafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.
$7.99
7.16 €
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Piano seul
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Jean-Philippe Rameau
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Rameau: Les Boréades: "The Arts and the Hours" for Piano
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Flavio Regis Cunha
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SheetMusicPlus
Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) Db MAJOR R*E*CORD VERSION
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1…
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Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1764). Arranged by Transcribed by Flavio Regis Cunha. Baroque Period, Early Music, Funeral, Graduation, Recital. Score. 12 pages. Published by Flavio Regis Cunha
Les Boréades is a tragédie lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706–1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Boréades are the descendants of Boréas.<br> <br> <br> 'The Arts and The Hours' interlude from Rameau’s final opera, ‘Les Boréades’, written in 1763 when Rameau was 80. Ólafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: “The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.” As all these mythical beings summoned to the stage have something to do with the arts and with time’s passing, Ólafsson allowed himself to call my transcription simply ‘The Arts and the Hours’, with a nod to the Greek aphorism best known in its Latin version as “Ars longa, vita brevis”. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.<br> <br> <br> <br> https://youtu.be/qTwqBVt2Clw
$7.99
7.16 €
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Piano seul
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Jean-Philippe Rameau
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Rameau: Les Boréades: "The Arts and the Hours" for Piano
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Flavio Regis Cunha
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SheetMusicPlus
Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) C MAJOR VERSION
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1…
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Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1764). Arranged by Transcribed and arranged by Flavio Regis Cunha. Baroque Period, Early Music, Funeral, Graduation, Recital. Score. 9 pages. Published by Flavio Regis Cunha
Les Boréades is a tragédie lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706–1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Boréades are the descendants of Boréas.<br> <br> <br> 'The Arts and The Hours' interlude from Rameau’s final opera, ‘Les Boréades’, written in 1763 when Rameau was 80. Ólafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: “The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.” As all these mythical beings summoned to the stage have something to do with the arts and with time’s passing, Ólafsson allowed himself to call my transcription simply ‘The Arts and the Hours’, with a nod to the Greek aphorism best known in its Latin version as “Ars longa, vita brevis”. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.
$7.99
7.16 €
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Piano seul
#
Jean-Philippe Rameau
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Rameau: Les Boréades: "The Arts and the Hours" for Piano
#
Flavio Regis Cunha
#
SheetMusicPlus
Rameau: Les Boréades: "The Arts and the Hours" for Piano (as played by Víkingur Ólafsson) C# MAJOR VERSION
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1…
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Piano Solo - Intermediate - Digital Download Composed by Jean-Philippe Rameau (1683-1764). Arranged by Transcribed and arranged by Flavio Regis Cunha. Baroque Period, Renaissance, Wedding, Graduation, Recital. Score. 12 pages. Published by Flavio Regis Cunha
Les Boréades is a tragédie lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706–1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Boréades are the descendants of Boréas.<br> <br> <br> 'The Arts and The Hours' interlude from Rameau’s final opera, ‘Les Boréades’, written in 1763 when Rameau was 80. Ólafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: “The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.” As all these mythical beings summoned to the stage have something to do with the arts and with time’s passing, Ólafsson allowed himself to call my transcription simply ‘The Arts and the Hours’, with a nod to the Greek aphorism best known in its Latin version as “Ars longa, vita brevis”. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.
$7.99
7.16 €
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Piano seul
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Jean-Philippe Rameau
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Rameau: Les Boréades: "The Arts and the Hours" for Piano
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Flavio Regis Cunha
#
SheetMusicPlus
Meat Salad for Solo Tenor Trombone
Trombone
Trombone - Advanced - Digital Download Composed by Jim Hopson. Jazz, Blues, Funk Jazz…
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Trombone - Advanced - Digital Download Composed by Jim Hopson. Jazz, Blues, Funk Jazz. Solo Part. 3 pages. Published by Cherry Classics Music
‘Meat Salad’ is a new piece for solo Tenor Trombone commissioned by Ilan Morgenstern of the Vancouver Symphony Orchestra. Inspired in part by the slap-bass stylings of artists like Bootsy Collins and in part by the inimitable trombone playing of ‘Funky Fred’ Wesley, this piece is simultaneously a groovy crowd-pleaser and an acrobatic showstopper. ‘Meat Salad for Tenor Trombone’ gives the advanced tenor trombonist the opportunity unleash his/her full repertoire of tricks including: trills, growls, turns, glissandi, extended range, and just about every type articulation imaginable.<br> <br> The Bass Trombone version was premiered in August 2019 at the 2nd annual Vancouver Trombone Week, with the composer adding an emphatic (if unsophisticated) cowbell accompaniment to Morgenstern’s bass trombone.
$20.00
17.92 €
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Trombone
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Jim Hopson
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Meat Salad for Solo Tenor Trombone
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Cherry Classics Music
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SheetMusicPlus
In the Meadows
Piano seul
Piano - easy - Digital Download SKU: S9.Q15983 Ten Children's pieces. Compos…
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Piano - easy - Digital Download SKU: S9.Q15983 Ten Children's pieces. Composed by Alexandr Gretchaninow. This edition: Sheet music. Downloadable. Op. 99. Schott Music - Digital #Q15983. Published by Schott Music - Digital (S9.Q15983).
$13.99
12.54 €
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Piano seul
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Alexandr Gretchaninow
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In the Meadows
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Schott Music - Digital
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SheetMusicPlus
In the Meadows
1 Piano, 4 mains
Piano (4 hands) - very easy to easy - Digital Download SKU: S9.Q17270 10 Childre…
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Piano (4 hands) - very easy to easy - Digital Download SKU: S9.Q17270 10 Children's Pieces. Composed by Alexandr Gretchaninow. Arranged by J. Kilp. This edition: Sheet music. Downloadable. Op. 99. Schott Music - Digital #Q17270. Published by Schott Music - Digital (S9.Q17270). The edition is part of the Trinity syllabus 2007 (grade 1st Recital).
$13.99
12.54 €
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1 Piano, 4 mains
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Alexandr Gretchaninow
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J
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In the Meadows
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Schott Music - Digital
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SheetMusicPlus
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