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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Main on End
Non classifié
476
Piano & claviers
Piano seul
325
Piano, Voix
156
1 Piano, 4 mains
130
Piano Facile
77
Piano grosses notes
54
2 Pianos, 4 mains
54
Orgue
49
Piano, Voix et Guitare
23
Instruments en Do
21
Accordéon
13
Piano Trio: piano, violon, violoncelle
6
Piano Quatuor: piano, violon, alto, violoncelle
4
1 Piano, 6 mains
4
Piano Quatuor: piano, 2 violons, violoncelle
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 10 instrumentations
Retracter
Guitares
Guitare
56
Guitare notes et tablatures
39
Basse electrique
8
Ukulele
7
Ligne De Mélodie, (Paroles) et Accords
4
4 Guitares (Quatuor)
3
3 Guitares (trio)
2
Piano, Guitare (duo)
2
Dulcimer
2
Ensemble de guitares
1
2 Guitares (duo)
1
+ 6 instrumentations
Retracter
Voix
Chorale SATB
79
Chorale 3 parties
21
Chorale 2 parties
11
Chorale Unison
10
Chorale TTBB
9
Chorale SSAA
8
Voix Tenor, Piano
3
Chorale SSAATTBB
2
Voix haute
2
Voix seule
1
Voix basse, Piano
1
Chorale SSATTB
1
Voix duo, Piano
1
Voix Baryton, Piano
1
+ 9 instrumentations
Retracter
Vents
2 Saxophones (duo)
46
Flûte traversière et Piano
37
Clarinette
34
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
32
Clarinette et Piano
30
2 Clarinettes (duo)
26
Saxophone Alto et Piano
24
2 Flûtes traversières (duo)
21
Flûte, Hautbois, Clarinette, Basson
20
Quintette de Saxophone: 5 saxophones
20
Hautbois, Piano (duo)
19
Flûte traversière
19
Quatuor de Clarinettes: 4 clarinettes
17
Quatuor de Saxophones: 4 saxophones
17
Saxophone Alto
17
Hautbois (partie séparée)
16
Saxophone, Clarinette (duo)
15
Flûte à Bec
12
Saxophone Tenor et Piano
12
Ensemble de Flûtes
11
2 Hautbois (duo)
11
Ensemble de Clarinettes
11
Saxophone Tenor
9
Clarinette, Violon (duo)
9
Hautbois, Basson (duo)
8
Saxophone (partie séparée)
8
Quintette de Clarinettes: 5 clarinettes
8
Flûte, Clarinette (duo)
8
Clarinette, Trompette (duo)
8
Saxophone Soprano et Piano
7
Flûte à bec Soprano
7
3 Saxophones (trio)
6
Flûte à bec Alto
6
Ensemble de saxophones
6
Saxophone Baryton, Piano
6
Flûte, Saxophone (duo)
6
Hautbois
5
Flute (partie séparée)
5
Quatuor de Flûtes : 4 flûtes
5
Hautbois, Flûte
5
Flûte, Alto (duo)
5
Flûte, Violon
5
Flûte à bec Tenor
4
2 Flûte à bec (duo)
4
3 Clarinettes (trio)
4
Hautbois, Clarinette (duo)
4
Clarinette Basse, Piano
4
Flûte, Hautbois (duo)
3
Flûte et Guitare
3
Trio de Flûtes: 3 flûtes
2
Clarinette, Violoncelle (duo)
2
Hautbois, Violoncelle
2
Clarinette et Alto
2
5 Flûtes à bec
2
Flûte, Violoncelle
2
Quintette de Flûte : 5 flûtes
2
Clarinette, Basson (duo)
2
Flûte, Trompette (duo)
2
Clarinette, Guitare (duo)
2
Cor anglais, Piano
2
Hautbois, Basson et Piano
1
Clarinette (partie séparée)
1
Saxophone et Guitare
1
Cor Anglais
1
Flûte, Hautbois, Clarinette (trio)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Saxophone
1
Flûte, Clarinette, Piano (trio)
1
Flûte, Basson et Piano
1
Piccolo
1
Harmonica
1
Quatuor de Flûtes à bec
1
Flûte à bec Soprano, Piano
1
+ 68 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
32
Quatuor de Cuivres : 2 trompettes, trombone, tuba
31
2 Trombones (duo)
27
Cor
24
Trompette
23
Trombone et Piano
18
Trompette, Piano
18
Trombone
12
Cor et Piano
11
Tuba
11
Trompette, Saxophone (duo)
10
2 Trompettes (duo)
9
Euphonium, Piano (duo)
7
2 Cors (duo)
7
Trompette (partie séparée)
7
Tuba et Piano
6
2 Euphoniums (duo)
6
Ensemble de Trompettes
6
Trompette, Trombone (duo)
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Euphonium
4
Quatuor de cuivres: 4 cors
4
Ensemble de Trombones
4
Quatuor de cuivres: 4 trombones
4
Quatuor de Cuivres
3
3 Trombones (trio)
3
2 Tubas (duo)
2
Tuba et Orgue
2
2 Euphoniums et 2 Tubas
2
Cor anglais, Piano
2
Trombone (partie séparée)
1
Ensemble de Cors
1
Quatuor de cuivres: 4 trompettes
1
Trombone basse et Piano
1
3 Trompettes (trio)
1
Cor Anglais
1
Trompette, Tuba (duo)
1
Trompette, Basson (duo)
1
Trompette, Cor (duo)
1
4 Tubas
1
Cor, Violoncelle (duo)
1
+ 36 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
141
Violon, Violoncelle (duo)
59
Violon et Piano
51
Alto, Piano
40
Violoncelle
36
Violoncelle, Piano
34
Violon
32
Trio à Cordes: 2 violons, violoncelle
23
Alto seul
21
Trio à Cordes: violon, alto, violoncelle
15
2 Violoncelles (duo)
15
Violon, Alto (duo)
14
2 Violons (duo)
13
Harpe
12
Contre Basse
12
Quintette à cordes: 2 violons, alto, violoncelle, basse
12
2 Altos (duo)
8
Contrebasse, Piano (duo)
7
Ensemble d'Altos
2
Alto (partie séparée)
2
2 Contrebasses (duo)
2
Alto, Violoncelle (duo)
2
4 Violoncelles
2
Piano Trio: Violon, Alto, Piano
2
Alto et Basson
1
Quatuor à cordes: 4 violons
1
Violon, Clarinette, Piano (trio)
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Violon, Basson (duo)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Trio à cordes: 3 violins
1
Harpe, Flûte (duo)
1
Ensemble de Violons
1
Trio à cordes: 3 altos
1
+ 29 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
140
Orchestre
67
Orchestre à Cordes
33
Ensemble Jazz
26
Orchestre de chambre
19
Ensemble de cuivres
17
Cloches
7
Xylophone, Piano
6
Jazz combo
5
2 Xylophones
4
Fanfare
4
Batterie
3
Xylophone
3
Ensemble de Percussions
2
2 Marimbas
1
Vibraphone et Marimba
1
Piano et Orchestre
1
3 Marimbas
1
Orchestre, Violon
1
Marimba
1
+ 15 instrumentations
Retracter
Autres
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Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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ENFANTS : EVEIL - IN…
FILM - TV
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FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
Main on End
Partitions à imprimer
3 605 partitions trouvées
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3601
Main On End
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
#
Film/TV
#
Alan Silvestri
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César Madeira
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Main On End
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Sheet Music To Play Editions
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1324981 Composed by Alan Silvestri. Arranged by César Madeira. Contemporary,Contest,Festival,Film/TV,Multicultural,Pop...
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Piano Solo - Level 4 - SKU: A0.1324981 Composed by Alan Silvestri. Arranged by César Madeira. Contemporary,Contest,Festival,Film/TV,Multicultural,Pop,World. Score. 5 pages. Sheet Music To Play Editions #913197. Published by Sheet Music To Play Editions (A0.1324981). Main On End from The Avengers: Endgame Main Theme. Arrangement for Piano Solo. With Full Score. Enjoy it!For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$7.99
Main On End
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Film/TV
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Alan Silvestri
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Marc Papeghin
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Main On End
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Marc Papeghin
#
SheetMusicPlus
Brass Ensemble Horn - Level 4 - SKU: A0.730708 Composed by Alan Silvestri. Arranged by Marc Papeghin. Contemporary. Score and parts. 15 pages. Marc Pape...
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Brass Ensemble Horn - Level 4 - SKU: A0.730708 Composed by Alan Silvestri. Arranged by Marc Papeghin. Contemporary. Score and parts. 15 pages. Marc Papeghin #6560319. Published by Marc Papeghin (A0.730708). A faithful arrangement for 4 French Horns of Alan Silvestri's End Titles from Avengers: EndgameDuration : ~3'05.
$12.99
Main On End
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2 Trompettes (duo)
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INTERMÉDIAIRE/AVANCÉ
#
Film/TV
#
Alan Silvestri
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Marc Papeghin
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Main On End
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Marc Papeghin
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SheetMusicPlus
Trumpet Duet Trumpet - Level 4 - SKU: A0.730705 Composed by Alan Silvestri. Arranged by Marc Papeghin. Contemporary. Score. 9 pages. Marc Papeghin #6560...
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Trumpet Duet Trumpet - Level 4 - SKU: A0.730705 Composed by Alan Silvestri. Arranged by Marc Papeghin. Contemporary. Score. 9 pages. Marc Papeghin #6560035. Published by Marc Papeghin (A0.730705). A faithful arrangement for Two Trumpets of Alan Silvestri's End Titles from Avengers: EndgameDuration : ~3'05.
$4.99
Main On End
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Film/TV
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Alan Silvestri
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Matt Nabozny
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Main On End
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Matthew Nabozny LLC
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SheetMusicPlus
Electronic Keyboard,Mallet Percussion - Level 3 - SKU: A0.1277629 Composed by Alan Silvestri. Arranged by Matt Nabozny. Chamber,Film/TV. 27 pages. Matth...
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Electronic Keyboard,Mallet Percussion - Level 3 - SKU: A0.1277629 Composed by Alan Silvestri. Arranged by Matt Nabozny. Chamber,Film/TV. 27 pages. Matthew Nabozny LLC #869308. Published by Matthew Nabozny LLC (A0.1277629). Arranged for percussion ensemble, enjoy the epic finale music from the end of an Avengers legacy.
$49.99
Main on End (From AVENGERS: ENDGAME)
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
#
Film/TV
#
Alan Silvestri
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Main on End
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Davison Yon
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SheetMusicPlus
String Orchestra - Advanced Intermediate - Digital Download By Alan Silvestri. Arranged by Davison Yon. Individual Part, Score, Set of Parts. 17 page...
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String Orchestra - Advanced Intermediate - Digital Download By Alan Silvestri. Arranged by Davison Yon. Individual Part, Score, Set of Parts. 17 pages. Published by Davison Yon
Youur students, performers, and audience will be excited for this new arrangement of "MAIN ON END" from Marvel's 2019 blockbuster hit AVENGERS: ENDGAME! This arrangement will not only excite fans of the Marvel Cinematic Universe, but also others who enjoy powerful, triumphant music.
$49.99
Endless Fanfare
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Cloches
#
INTERMÉDIAIRE
#
Nicholas Jacques Lemmens
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Paul W
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Endless Fanfare
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Bronze:FX
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SheetMusicPlus
Handbell - Level 3 - SKU: A0.1307875 Composed by Nicholas Jacques Lemmens. Arranged by Paul W. Allen - Bronze:FX. 19th Century,Classical,Romantic Period...
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Handbell - Level 3 - SKU: A0.1307875 Composed by Nicholas Jacques Lemmens. Arranged by Paul W. Allen - Bronze:FX. 19th Century,Classical,Romantic Period,Wedding. Score. 8 pages. Bronze:FX #897135. Published by Bronze:FX (A0.1307875). “Endless Fanfare†is a transcription of an original organ toccata composed by the Parisian organist Nicolas Jacques Lemmens. In the style of a French suite, this piece may be condensed or expanded to fit nearly any performance situation. Played quickly and without repeats, it builds to a satisfying climax. Taken at a more moderate tempo and with all repeats (including an unwritten but implied optional DC from the end of measure 78), “Endless Fanfare†may continue forever.The arrangement is for full choir using 3, 4, 5, or 6 octaves of handbells, and the piece is Level 3 when played with a full complement of ringers.All stopped sounds are left to the director's discretion, depending on the performance context and personal taste. The bass must provide a solid foundation, but never be overbearing. Plucked sounds would create a sharp accent and quick decay; malletted sounds should be much softer; martellati would be quite harsh.Exceptional skill and endurance is required of the F5+G5 and A5+B5 ringers, who must maintain a contant but subtle off-beat pulse throughout.The tempo must remain steady and without rubato, until the final two measures.Performance time:  4 minutes.
$2.95
Germaine Tailleferre: Trois Études for two pianos
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2 Pianos, 4 mains
#
AVANCÉ
#
achieving the physical decline
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Germaine Tailleferre
#
Germaine Tailleferre: Trois &E
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. ...
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Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.
$32.95
Friend or Fiend for orchestra (parts)
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Orchestre
#
AVANCÉ
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Contemporain
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Tom Swafford
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Friend or Fiend for orchestra
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Tom Swafford
#
SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.914155 Composed by Tom Swafford. 20th Century,Contemporary. Score and parts. 64 pages. Tom Swafford #3630499. Publish...
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Full Orchestra - Level 5 - SKU: A0.914155 Composed by Tom Swafford. 20th Century,Contemporary. Score and parts. 64 pages. Tom Swafford #3630499. Published by Tom Swafford (A0.914155). Exciting and dramatic short orchestra piece with a wide variety of moods and textures, and a lot of rhythmic drive. The piece has 4 main themes in contrasting styles: Romantic (strings and horns), funky/rhythmic (clarinet), corny (piccolo), Â and lyrical (oboe). Â All the themes use the same principle notes (D, C sharp, B flat and A) and could be considered friendly or fiendish depending on your musical taste. At the climactic ending all the themes are layered on top of each other. It was composed for the U. C. Berkeley Orchestra and received an Eisner Prize from the U. C. Berkeley faculty. Duration: 7 minutes. ASCAP Instrumentation: 2+picc, 2, 2, 2, 2, 2, 2, 1, timp, 2 perc (perc 2 can double timp), strings
$25.00
Friend or Fiend for orchestra (score)
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Orchestre
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AVANCÉ
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Contemporain
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Tom Swafford
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Friend or Fiend for orchestra
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Tom Swafford
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.914153 Composed by Tom Swafford. 20th Century,Contemporary. Score and parts. 26 pages. Tom Swafford #3630493. Publish...
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Full Orchestra - Level 5 - SKU: A0.914153 Composed by Tom Swafford. 20th Century,Contemporary. Score and parts. 26 pages. Tom Swafford #3630493. Published by Tom Swafford (A0.914153). Exciting and dramatic short orchestra piece with a wide variety of moods and textures, and a lot of rhythmic drive. The piece has 4 main themes in contrasting styles: Romantic (strings and horns), funky/rhythmic (clarinet), corny (piccolo), Â and lyrical (oboe). Â All the themes use the same principle notes (D, C sharp, B flat and A) and could be considered friendly or fiendish depending on your musical taste. At the climactic ending all the themes are layered on top of each other. It was composed for the U. C. Berkeley Orchestra and received an Eisner Prize from the U. C. Berkeley faculty. Duration: 7 minutes. ASCAPÂ Instrumentation: 2+picc, 2, 2, 2, 2, 2, 2, 1, timp, 2 perc (perc 2 can double timp), strings
$5.00
End Of The Line
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Piano seul
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FACILE
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Isadar
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End Of The Line
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Mainya Music Publishing
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1041003 By Isadar. By Isadar. Classical,Contemporary,Jazz,New Age. Score. 9 pages. Mainya Music Publishing (BMI) #645734....
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Piano Solo - Level 2 - SKU: A0.1041003 By Isadar. By Isadar. Classical,Contemporary,Jazz,New Age. Score. 9 pages. Mainya Music Publishing (BMI) #645734. Published by Mainya Music Publishing (BMI) (A0.1041003). Contains:End Of The Line - taken from the Isadar solo piano collection, The Journey (available soon on SheetMusicDirect and SheetMusicPlus) Sounds like: Liz Story, George Winston, early Windham Hill solo piano artists Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording Album & Songbook review by:Kathy Parsons (MainlyPiano.com): Isadar’s fourth solo piano album is a blend of smooth jazz and new age, showing both his impressive technique and sensitivity to melody. Several of the eight selections are free-form and improvisational, revealing some of Liz Story’s influence on his music. Some of Isadar’s earlier recordings have very dark, moody sections, but this one stays fairly upbeat and optimistic without being ear candy. The music is complex enough to sink your teeth into, and yet is accessible enough to enjoy as a backdrop to a quiet dinner or an evening with a good book. Joyful Running begins the journey with an exuberant and uplifting piece that reminds me a little of some of Spencer Brewer’s bouncier compositions. Fountain of Life is a beautiful piece with a water-like flow that never stops in its 10 1/2 minutes. I listened to this CD several times without realizing that this song was that long. It flows and meanders so effortlessly that it seemed no longer than the other seven selections, most of which are between four and five minutes in length. Unstructured and free, this is one of my favorite tracks. I also really like the title track, which is even more abstract and unstructured. The tone is of searching and moving forward. End of the Line is my favorite on this album. Very introspective and contemplative, this seems to be a very personal piece. It is the most somber track, but one still senses hope despite the ending of something dear and important. Or maybe it’s simply the end of the journey and the dread of returning to real life - I feel this way on the last day of my vacations! It is a wonderful and moving closing to an excellent album. The companion songbook is expertly transcribed and engraved by David Shenton of New York Music Publishing. The layout of the music is clear and uncluttered, and the notation includes pedal markings and dynamics that allow the pianist to express the music as closely as possible to how Isadar played it on the recording. A few of the pieces are quite long and require a more advanced pianist who is able to express the nuances that keep the recording so interesting, but several of the pieces are well within the capabilities of upper intermediate players. Some of the rhythms are a little bit tricky, but the majority of the left hand parts are running eighth notes, which make it easier. None of the key signatures are difficult, and none of the chords have a reach of more than an octave, making this music very playable for smaller hands. My favorite pieces to play in this book are Joyful Running, Voice of God (Thanksgiving), Smoke Signals, and End of the Line. 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... Also available as sheet music in physical songbooks, digital downloads, as as software for Yamaha Disklavier player-pianos. For more information, visit his website at: https://www.isadar.com.
$6.99
Legends
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Piano seul
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INTERMÉDIAIRE
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Contemporain
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Sean Perry
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Legends
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Rats in the Practice Room
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1209506 Composed by Sean Perry. Classical,Contemporary. Score. 10 pages. Rats in the Practice Room #807648. Published by ...
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Piano Solo - Level 3 - SKU: A0.1209506 Composed by Sean Perry. Classical,Contemporary. Score. 10 pages. Rats in the Practice Room #807648. Published by Rats in the Practice Room (A0.1209506). A 3-movement piano sonata in C# minor, Legends tells the tragic tale of two lovers cursed by the Greek god Poseidon. The first movement depicts the journey of the first lover, a semi-mortal demigod who sets out on a quest to challenge Poseidon for control of the seas. He loses the battle and is cursed to remain lost at sea forever, caught in a vortex with enough strength to swim forever, but not enough to escape. The second movement depicts his mortal human lover, who remains on land. As time continues, the lover grows concerned; they don't know when—or if—their beloved will return. After months have passed, the human decides to go on a quest of their own to find their beloved. The human learns of the demigod's fate, and must make a choice: To live the rest of their life in solitude, separated from the one they love—or to jump into the vortex and doom both of them. The third movement depicts this choice; the human decides to be selfish, and cherish one last moment with the demigod before they both sink to the bottom of the ocean and die in each other's arms.
$10.00
Germaine Tailleferre : Choral et Variations for two pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Germaine Tailleferre
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Germaine Tailleferre : Choral
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Musik Fabrik Music Publishing
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1155043 Composed by Germaine Tailleferre. 20th Century,Chamber. Score. 45 pages. Musik Fabrik Music Publ...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1155043 Composed by Germaine Tailleferre. 20th Century,Chamber. Score. 45 pages. Musik Fabrik Music Publishing #755324. Published by Musik Fabrik Music Publishing (A0.1155043). Tailleferre's only work in the form of variations, written near the end of her life as part of a French State commission. The work is in the form of a suite which uses themes from all periods of Tailleferre's life. There is also a version for orchestra, whose score is available for sale on this site.
$51.95
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
Variations on a Theme in D Flat
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Orchestre d'harmonie
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FACILE
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Contemporain
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Kendra Brown
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Variations on a Theme in D Fla
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Kendra Brown
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.1335323 Composed by Kendra Brown. 21st Century. 26 pages. Kendra Brown #921147. Published by Kendra Brown (A0.1335323)....
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Concert Band - Level 2 - SKU: A0.1335323 Composed by Kendra Brown. 21st Century. 26 pages. Kendra Brown #921147. Published by Kendra Brown (A0.1335323). The main theme is inspired by the introduction of the piece. Delicate and child-like. The ostinato in the beginning of the piece that double reeds have displays the feeling of a “child-like†waltz. The pattern is in 3 but it should be played as if it is in 6/8, with emphasis on beats 1 and 3. There should be weight to the sound but it should not be heavy. Sometimes in life, (as both teens and adults) we tend to get caught up in stress or worries and we forget to take a break, relax and destress a little. This piece reminds us to go back to our childlike roots. As the theme in Section A expands, it takes a turn in Section B where the tempo picks up. (Players are encouraged to have as much fun as they can with this part.) At and after the exposed bassoon part at m.50, in the words of my old high school band director, “Let it rip potato chip!†(Meaning give it all you’ve got and have fun). Brass are encouraged to play the dynamics as written in this section but listen to each other. Section C is a bridge to the 7/8 in Section D. Section D, reintroduces the theme in the form of a trumpet solo while brass and some of the woodwinds have the ostinato. Be careful euphonium & tuba because you’re missing a beat on purpose! Section E is the “Medley†of all the parts that were previously played with only tuba playing in the relative minor so it sticks out at the bottom of the ensemble. This is symbolic of the piece itself, showing that the pressures of life can be overcome by keeping a good attitude and persevering through those tough times that you encounter. Section F is another “bridge†beginning with the flute solo reiterating the theme one last time before the “descent and climb†(starting at m.137) to the final destination: Section G. Section G should be played like an overture. Full and with joy and a “coming alive-ness†to it therefore bringing life to the once dead emotions that once were. The ending with the oboe/bassoon duet should be played as quietly as possible & as in tune as possible.
$10.00
Just Friends - Score Only
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Ensemble Jazz
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DÉBUTANT
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Jazz
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John Klenner and Sam M
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@Jhavilah
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Just Friends - Score Only
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Jhavilah
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 1 - SKU: A0.1227019 Composed by John Klenner and Sam M. Lewis. Arranged by @Jhavilah. Blues,Contemporary,Film/TV,Jaz...
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Jazz Ensemble Jazz Ensemble - Level 1 - SKU: A0.1227019 Composed by John Klenner and Sam M. Lewis. Arranged by @Jhavilah. Blues,Contemporary,Film/TV,Jazz,Multicultural,World. 1 pages. Jhavilah #815171. Published by Jhavilah (A0.1227019). Just Friends is a jazz standard composed by John Klenner with lyrics by Sam M. Lewis. It was first recorded in 1931 by Red McKenzie and his Orchestra, and has since become a beloved classic in the jazz world. The song's catchy melody and playful lyrics have made it a popular choice for jazz musicians and singers over the years.The song is often played at a moderate tempo, and features a swinging, upbeat rhythm that is typical of the jazz music of the time. The melody is catchy and memorable, with its playful, syncopated phrasing and use of chromaticism. The lyrics tell the story of a couple who have decided to end their romantic relationship but remain friends, with lines like Just friends, lovers no more, just friends, but not like before.Over the years, Just Friends has been covered by many jazz greats, including Chet Baker, Charlie Parker, and Billie Holiday. Each artist brings their own unique interpretation to the song, showcasing their individual improvisational skills and musicality. The song has also been used in several films and television shows, cementing its place in popular culture.Despite its popularity, Just Friends remains a challenging piece to play, requiring both technical proficiency and a deep understanding of the nuances of jazz music. Its enduring appeal is a testament to the power of great songwriting, and to the lasting impact of jazz music on popular culture.
$4.99
Theme and Variations on a Chinese New Year Theme for Extended Orchestra - Set of all parts
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Jeremy Goh, Daniel Cheng
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Theme and Variations on a Chin
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Jeremy Goh
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1027336 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 78 pages. Jeremy Goh #12125. Published b...
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Full Orchestra - Level 3 - SKU: A0.1027336 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 78 pages. Jeremy Goh #12125. Published by Jeremy Goh (A0.1027336). We present a work composed as a tongue-in-cheek expression of a popular street tune heard today, put through a series of 5 variations that explore different styles. It works in both a satirical as well as sophisticated manner vertically and horizontally, and uses multiple cliches that will get the audience perking up in recognition. The theme, 贺新年, is a common tune sung in Chinese New Year celebrations. In the heart of celebrating the New Year, this piece is written playable by musicians of all ages, whether in schools or as community orchestras and bands, to come together by the common celebratory notion in a work for an extended orchestra, including the saxophone and euphonium. Written by Daniel Cheng and Jeremy Goh, we hope that this season this piece can bring both laughter and reverence to the street tune, blown out of proportion in style and size. Starting the work is an atonal entry, built on tone rows and planing, legacies of Shoenberg and his contemporaries, before decomposing into an exceedingly lively statement of the theme. This is then juxtaposed beside a trip to tribal communities with interlocking rhythms and a modal distortion of the melody. From the modal mess and deviation from diatonicism, we then return to the prim and proper style of Mozart and Haydn in a short Classical variation. As if to mock its neat stature, this then is shattered with a juxtaposition beside a variation in the style of Shostakovich, modelled after the controversial Leningrad symphony, which draws on a different dimension of the theme, its banality, and propagating and emulsifying it to terrifying levels as it is distorted. Finally, a schreckenfanfare is directed marking an entry into a tribute to one of the greatest legends in music composition, with Beethoven along with its transcendental qualities of cyclism, and use of learned styles, methods of maintaining tension etc., bringing a grand ending to the 10 minute long work.
$4.99
Theme and Variations on a Chinese New Year Theme for Extended Orchestra - Full Score
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Contemporain
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Jeremy Goh, Daniel Cheng
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Theme and Variations on a Chin
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Jeremy Goh
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1027334 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 23 pages. Jeremy Goh #12123. Published by ...
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Concert Band - Level 3 - SKU: A0.1027334 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 23 pages. Jeremy Goh #12123. Published by Jeremy Goh (A0.1027334). We present a work composed as a tongue-in-cheek expression of a popular street tune heard today, put through a series of 5 variations that explore different styles. It works in both a satirical as well as sophisticated manner vertically and horizontally, and uses multiple cliches that will get the audience perking up in recognition. The theme, 贺新年, is a common tune sung in Chinese New Year celebrations. In the heart of celebrating the New Year, this piece is written playable by musicians of all ages, whether in schools or as community orchestras and bands, to come together by the common celebratory notion in a work for an extended orchestra, including the saxophone and euphonium. Written by Daniel Cheng and Jeremy Goh, we hope that this season this piece can bring both laughter and reverence to the street tune, blown out of proportion in style and size. Starting the work is an atonal entry, built on tone rows and planing, legacies of Shoenberg and his contemporaries, before decomposing into an exceedingly lively statement of the theme. This is then juxtaposed beside a trip to tribal communities with interlocking rhythms and a modal distortion of the melody. From the modal mess and deviation from diatonicism, we then return to the prim and proper style of Mozart and Haydn in a short Classical variation. As if to mock its neat stature, this then is shattered with a juxtaposition beside a variation in the style of Shostakovich, modelled after the controversial Leningrad symphony, which draws on a different dimension of the theme, its banality, and propagating and emulsifying it to terrifying levels as it is distorted. Finally, a schreckenfanfare is directed marking an entry into a tribute to one of the greatest legends in music composition, with Beethoven along with its transcendental qualities of cyclism, and use of learned styles, methods of maintaining tension etc., bringing a grand ending to the 10 minute long work.
$5.99
Life On Mars
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1 Piano, 4 mains
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INTERMÉDIAIRE
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Rock
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David Bowie
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Pev Foxton, Rob Green
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Life On Mars
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Robert Green
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SheetMusicPlus
1 Piano,4 Hands,Piano Duet - Level 3 - SKU: A0.901573 By David Bowie. By David Bowie. Arranged by Pev Foxton, Rob Green. Pop,Rock. Score. 15 pages. Robe...
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1 Piano,4 Hands,Piano Duet - Level 3 - SKU: A0.901573 By David Bowie. By David Bowie. Arranged by Pev Foxton, Rob Green. Pop,Rock. Score. 15 pages. Robert Green #4364548. Published by Robert Green (A0.901573). An arrangement for piano duet (4 hands, 1 piano) of the much loved David Bowie classic, Life on Mars. The arrangement is in the traditional piano duet form of seperate pages for Primo and Secondo parts. The tune is written in the lower stave of the Primo part, and is mainly played with the left hand, with the right hand providing embelishments between phrases. The chorus is split between the Primo hands and includes cascades of notes imitating the string glissando of the original Bowie recording - quite tricky to work out, but great fun to play. The Secondo part provides a flowing bass line, predominantly written in quavers (eighth notes). The Secondo part also has the guitar solo at the end of the choruses. The words are included in both parts.
$6.00
Up on the Housetop - Piano Duet (Alternative Ending)
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1 Piano, 4 mains
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FACILE
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Noël
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Hanby, Benjamin
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Up on the Housetop - Piano Due
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Music-Scores.com
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 2 - SKU: A0.721090 Composed by Hanby, Benjamin. Arranged by Anne L Christopherson GRSM ARCM. Christmas...
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Instrumental Duet Instrumental Duet,Piano - Level 2 - SKU: A0.721090 Composed by Hanby, Benjamin. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert. Score and parts. 4 pages. Music-Scores.com #3879917. Published by Music-Scores.com (A0.721090). Up on the Housetop is a popular carol for children. Ho ho ho, down he goes, through the chimney with lots of toys. In this version he gets slightly stuck but manages to pop out at the end.For Piano Duet.Playing time 1 minute.Arranged by Anne Christopherson at https://www.music-scores.com
$5.95
Panic In Year Zero! Main Theme Extended Version
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Les Baxter
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Kirk C
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Panic In Year Zero! Main Theme
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Kirk Reyes
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SheetMusicPlus
Alto Saxophone,Baritone Saxophone,Double Bass,Drum Set,Guitar,Horn,Piano,Tenor Saxophone,Trombone,Trumpet - Level 5 - Interactive Download SKU: A0.1326555
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Alto Saxophone,Baritone Saxophone,Double Bass,Drum Set,Guitar,Horn,Piano,Tenor Saxophone,Trombone,Trumpet - Level 5 - Interactive Download SKU: A0.1326555 Composed by Les Baxter. Arranged by Kirk C. Reyes. This edition: Interactive Download. Film/TV,Jazz. 71 pages. Duration 215. Kirk Reyes #3PHeZWltueC0TzKxwLLnHz. Published by Kirk Reyes (A0.1326555). Key: F major.Les Baxter went all out with this composition. It was used as theme music for the dystopian movie Panic in Year Zero, starring Ray Milland and Frankie Avalon. The movie deals with the trials of a family in a post atomic America. The Main theme is set on a theme and variation. French horns have been added, making the piece reminiscent of work done by Gil Evans during this same period.
$29.99
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
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Kondo Koji : The Legend of Zelda - Thème principa (niveau intermédiaire, accordéon solo)
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Kondo Koji
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The Legend of Zelda
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Telechargez la partition Accordeon The Legend of Zelda - Thème principa (niveau intermediaire, accordeon solo) de Kondo Koji. Partition pour Accordeon solo -- Jeux video
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Kondo Koji : The Legend of Zelda - Thème principa (niveau très facile, accordéon solo)
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DÉBUTANT
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Kondo Koji
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The Legend of Zelda
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Telechargez la partition Accordeon The Legend of Zelda - Thème principa (niveau très facile, accordeon solo) de Kondo Koji. Partition pour Accorde...
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Telechargez la partition Accordeon The Legend of Zelda - Thème principa (niveau très facile, accordeon solo) de Kondo Koji. Partition pour Accordeon solo -- Jeux video
5.99€
Kondo Koji : The Legend of Zelda - Thème principa (niveau facile, accordéon solo)
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Accordéon
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FACILE
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Kondo Koji
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The Legend of Zelda
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Tomplay
Telechargez la partition Accordeon The Legend of Zelda - Thème principa (niveau facile, accordeon solo) de Kondo Koji. Partition pour Accordeon solo -- J...
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Telechargez la partition Accordeon The Legend of Zelda - Thème principa (niveau facile, accordeon solo) de Kondo Koji. Partition pour Accordeon solo -- Jeux video
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