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1576
Sanctus (TTBB)
Chorale TTBB
Composed by Franz Schubert (1797-1828). Classical Period, Spiritual, Sacred, Funeral, Reci…
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Composed by Franz Schubert (1797-1828). Classical Period, Spiritual, Sacred, Funeral, Recital. Sheet Music Single. 3 pages. Published by Modal Music (S0.206227). - Sheet Music Single - Classical Period,Spiritual,Sacred,Funeral,Recital - Modal Music
$2.50
2.33 €
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Chorale TTBB
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Franz Schubert
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Sanctus
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Modal Music
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SheetMusicPlus
Tibie Paiom (SSA)
Chorale 3 parties
Composed by Dimitri Bortnianski. Arranged by Dorian Kelly. Romantic Period, Christian, Sac…
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Composed by Dimitri Bortnianski. Arranged by Dorian Kelly. Romantic Period, Christian, Sacred, General Worship, Funeral. Individual Part. 3 pages. Published by Modal Music (S0.204091). - Individual Part - Romantic Period,Christian,Sacred,General Worship,Funeral - Modal Music
$2.50
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Chorale 3 parties
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Dimitri Bortnianski
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Dorian Kelly
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Tibie Paiom
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Modal Music
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SheetMusicPlus
Breathe Soft Ye Winds
Chorale TTBB
Composed by William Paxton. Arranged by Dorian Kelly. Renaissance, Wedding, Recital. Sheet…
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Composed by William Paxton. Arranged by Dorian Kelly. Renaissance, Wedding, Recital. Sheet Music Single. 5 pages. Published by Modal Music (S0.205001). - Sheet Music Single - Renaissance,Wedding,Recital - Modal Music
$2.50
2.33 €
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Chorale TTBB
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William Paxton
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Dorian Kelly
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Breathe Soft Ye Winds
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Modal Music
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SheetMusicPlus
Arpeggios for the Evolving Guitarist (USC)
Guitar - Beginning-Intermediate - Digital Download SKU: M0.22115MEB Composed by Pat…
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Guitar - Beginning-Intermediate - Digital Download SKU: M0.22115MEB Composed by Pat Kelley. Style. Rock and blues, method. E-book and online audio. Mel Bay Publications - Digital Sheet Music #22115MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.22115MEB). ISBN 9781619116276. 8.75x11.75 inches.Arpeggios are chord notes played one at a time rather than strummed or plucked all together. They are an essential part of great improvising and melody writing because playing chord notes in the right places creates solid melody lines. Chord notes sound more resolved than notes that are chromatic (out of the key). Practicing arpeggios will improve your ability to learn melodies, make reading music easier, and develop your tone and picking accuracy. The first part of this book focuses on the basic fingerings of the following six arpeggios: major 7th, major 7th (#5), dominant 7th, minor 7th, minor 7th (b5), and diminished 7th. This book along with its accompanying audio represents a comprehensive guide to all things arpeggio. It delves into traditional applications of arpeggios, as well as how they relate to slash chords, modal music and more. The student will learn about how arpeggios fall over standard chord progressions, as well as how to embellish arpeggios to make them more musical in performance situations. In standard notation and tab. Includes access to online audio.
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Pat Kelley
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Arpeggios for the Evolving Guitarist
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
The City In the Sea: Choral Tone Poem
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1074352 Composed by Stanle…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Published by stanleymhoffman.com (A0.1074352). PROGRAM NOTES As of the present writing, this choral tone poem had been gestating for over thirty years, and the concept and harmonies for it for over forty years. In the 1980s I began to work with the latter two in my brief orchestral piece Little Sea Nocturne. When reading the poetry of Edgar Allan Poe (1809â1849), I am most struck by how musical they are. When recited aloud they exhibit their own rhythmic sense. I was eager to incorporate those rhythms into my music. I had long been familiar with his poem The City In the Sea and began to sketch choral passages for the present choral tone poem in the 1990s. It took me until 2022 to complete it because I required many more years of experience at my craft to do so to lead into out of the choruses. In 2012 I completed a seven-minute unaccompanied version of the choruses with music unique to and unifying it simply called The City In the Sea. In composing The City In the Sea - Choral Tone Poem, my goal was to write a piece that, while steeped in tradition, sounds unlike anything in the literature that had come before it. The result is an original hybrid work that successfully and memorably combines salient aspects of the tonal, atonal, and modal musical languages into an organic whole. George Perle coined the term âtwelve-tone tonalityâ to describe the music of Alban Berg and composers influenced by him such as Luigi Dallapiccola. The last title of which I am aware that accomplishes anything remotely related to what I am trying to accomplish musically in this choral tone poem is the piece Paradiso Choruses by Donald Martino (1974). However, I take twelve-tone tonality in entirely other directions in my work. That the duration of The City In the Sea - Choral Tone Poem came out to be thirteen minutes seems appropriate for piece about a sunken city. Rather than write program notes that narrate how the music unfolds I will simply shout out the most memorable aspects of what careful listeners will discern: a recurring heartbeat motif; shifting polychordal harmonies; echo technique; rhythmic diminutions and augmentations; an a cappella chorus featuring those harmonies with a surprisingly memorable recuring theme on top; sensuous flute duets; string section underpinnings by way of either sustained passages or wave-like gestures; tritone-related melodies, harmonies, and tone centers; several strategically placed grand pauses; tritone-related modal-sounding passages; melodic and chord clusters, especially the two climactic ones. INSTRUMENTATION 2 Flutes (2. doubles on Piccolo) 2 Oboes (2. doubles on English Horn) 2 Bb Clarinets 2 Bassoons 2 F Horns 2 C Trumpets 2 Trombones Tuba Timpani Percussion (Gong, Bass Drum, Chimes, Glockenspiel) Harp Strings DURATION 13:00 Stanley M. Hoffman (b. 1959) For biographical information visit: www.stanleymhoffman.com.
$5.60
5.23 €
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Chorale SATB
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Stanley M Hoffman
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The City In the Sea: Choral Tone Poem
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stanleymhoffman.com
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.39 €
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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
Boys of the Old Brigade
Composed by Eric Slater & Frank Weatherly. Arranged by Dorian Kelly. For Choir, Choir …
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Composed by Eric Slater & Frank Weatherly. Arranged by Dorian Kelly. For Choir, Choir - other voicings, TTBB. 20th Century. Sheet Music Single. Modal Music #MM-409. Published by Modal Music
$1.99
1.86 €
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Eric Slater & Frank Weatherly
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Dorian Kelly
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Frank Weatherly
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Boys of the Old Brigade
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Modal Music
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SheetMusicPlus
Si njay njay
Chorale 3 parties
Composed by Traditional. Arranged by Dorian Kelly. For Choir, Choir - other voicings, SSA.…
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Composed by Traditional. Arranged by Dorian Kelly. For Choir, Choir - other voicings, SSA. Wedding, World, Secular. Sheet Music Single. Modal Music #MM-406. Published by Modal Music
$1.99
1.86 €
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Chorale 3 parties
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Traditional
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Dorian Kelly
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Si njay njay
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Modal Music
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SheetMusicPlus
Deep River (TTBB)
Chorale TTBB
Choral Choir,Choral,TTBB Chorus - Level 3 - Digital Download SKU: A0.1415969 By Tra…
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Choral Choir,Choral,TTBB Chorus - Level 3 - Digital Download SKU: A0.1415969 By Traditional. By Harry T. Burleigh. Arranged by Dorian Kelly. 19th Century,Multicultural,Praise & Worship,Spiritual,World. 6 pages. Modal Music #997665. Published by Modal Music (A0.1415969). An arrangement of the traditional spiritual from the early 1900s, for TTBB / Male Voice Choir and piano. Arranged by Dorian Kelly.
$2.50
2.33 €
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Chorale TTBB
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Traditional
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Dorian Kelly
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Deep River
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Modal Music
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SheetMusicPlus
Carillon (SSA)
Chorale 3 parties
Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.866163 Composed by Dorian K…
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Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.866163 Composed by Dorian Kelly. Contemporary,Holiday. Octavo. 7 pages. Modal Music #6877765. Published by Modal Music (A0.866163). Commissioned to celebrate the 40th anniversary season of Chapel-en-le-Frith Ladies Choir. Music by Dorian Kelly, lyrics by Judy Brown. For SSA choir, piano and optional hand bells (which could also be played on glock or vibraphone).
$2.50
2.33 €
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Chorale 3 parties
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Dorian Kelly
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Carillon
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Modal Music
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SheetMusicPlus
Come Away Death
Chorale SATB
Choral Choir (Mixed) - Level 5 - Digital Download SKU: A0.866132 Composed by Dorian…
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Choral Choir (Mixed) - Level 5 - Digital Download SKU: A0.866132 Composed by Dorian Kelly. A Cappella,Concert,Contemporary. Octavo. 5 pages. Modal Music #3035617. Published by Modal Music (A0.866132). A contemporary setting of text from William Shakepeare's Twelfth Night for a cappella AA / TT / BB choir.Come away, come away death. In sad cypress let me be laid.Fly away, fly away breath. I am slain by a fair, cruel maid.Suitable for a choral recital, concert or as a competition / festival piece.
$2.50
2.33 €
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Chorale SATB
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Dorian Kelly
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Come Away Death
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Modal Music
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SheetMusicPlus
Away In A Manger (TTBB)
Chorale TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.866161 Composed by Traditi…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.866161 Composed by Traditional. Arranged by Dorian Kelly. Christmas,Contemporary,Renaissance,Sacred. Octavo. 8 pages. Modal Music #6877759. Published by Modal Music (A0.866161). A new setting of the popular Christmas carol for TTBB choir and piano. Suitable for a Christmas church service or concert.
$2.50
2.33 €
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Chorale TTBB
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Traditional
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Dorian Kelly
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Away In A Manger
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Modal Music
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SheetMusicPlus
Si Si Dollarda (SSA)
Chorale 3 parties
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.866137 Composed by Traditio…
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.866137 Composed by Traditional. Arranged by Dorian Kelly. A Cappella,African,Children,Folk,Instructional,World. Octavo. 3 pages. Modal Music #3593875. Published by Modal Music (A0.866137). Si Si Dollarda is a welcome song from the Katanga Province of the southern Congo.
$1.99
1.86 €
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Chorale 3 parties
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Traditional
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Dorian Kelly
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Si Si Dollarda
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Modal Music
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SheetMusicPlus
Tears In Heaven
Chorale 3 parties
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.866142 By Eric Clapton. By …
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Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.866142 By Eric Clapton. By Eric Clapton and Will Jennings. Arranged by Dorian Kelly. Contemporary,Rock. Octavo. 10 pages. Modal Music #4369256. Published by Modal Music (A0.866142). A mixed choir version (SAB with piano accompaniment) of Eric Clapton's and Will Jennings's Grammy award winning song Tears In Heaven. This piece works well as a thoughtful concert item, or as a more contemporary item for a Remembrance concert.
$2.25
2.1 €
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Chorale 3 parties
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Eric Clapton
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Dorian Kelly
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Tears In Heaven
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Modal Music
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SheetMusicPlus
Give Thanks To The Lord - Psalm 118 (SATB)
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.866155 Composed by Dorian …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.866155 Composed by Dorian Kelly. Contemporary,Easter,Sacred. Octavo. 9 pages. Modal Music #6877747. Published by Modal Music (A0.866155). A powerful, yet melodic setting of Psalm 118 for SATB choir and piano. Suitable for an Easter service or Spring concert.
$2.50
2.33 €
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Chorale SATB
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Dorian Kelly
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Give Thanks To The Lord - Psalm 118
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Modal Music
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SheetMusicPlus
The Wayfaring Stranger (TTBB)
Chorale TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.866151 Composed by Traditi…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.866151 Composed by Traditional. Arranged by Dorian Kelly. Contemporary,Folk,Spiritual,World. Octavo. 7 pages. Modal Music #6856307. Published by Modal Music (A0.866151). The traditional folk song used in the films War Horse and 1917, arranged for TTBB / Male Voice Choir and piano. An ideal piece for a remembrance service, or a reflective moment in a concert..
$2.50
2.33 €
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Chorale TTBB
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Traditional
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Dorian Kelly
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The Wayfaring Stranger
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Modal Music
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SheetMusicPlus
To You O Lord I Lift Up My Soul - Psalm 25 (SATB)
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.866158 Composed by Dorian Kelly. Chr…
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Choral Choir (SATB) - Digital Download SKU: A0.866158 Composed by Dorian Kelly. Christmas,Concert,Contemporary,Sacred. Octavo. 10 pages. Modal Music #6877753. Published by Modal Music (A0.866158). An uplifting setting of Psalm 25 for SATB choir and piano. Suitable for an advent church service or concert performance.
$2.50
2.33 €
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Chorale SATB
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Dorian Kelly
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To You O Lord I Lift Up My Soul - Psalm 25
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Modal Music
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SheetMusicPlus
Your Teeming Shore
Chorale SATB
Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1027050 By Dorian K…
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Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1027050 By Dorian Kelly. By Dorian Kelly. Arranged by Dorian Kelly. 20th Century,Contemporary,Multicultural,World. Octavo. 13 pages. Modal Music #632506. Published by Modal Music (A0.1027050). Your Teeming Shore - for SATB choir and piano. The New Colossus is a sonnet written by American poet Emma Lazarus in 1883 to raise money for the construction of a pedestal for the Statue of Liberty. In 1903, the poem was cast onto a bronze plaque and mounted inside the pedestal's lower level. 'The New Colossus' reinvented the statue's purpose, turning Liberty into a welcoming mother, a symbol of hope to the outcasts and downtrodden of the world. John T. Cunningham (an American journalist and historian) wrote: The Statue of Liberty was not conceived and sculpted as a symbol of immigration, but it quickly became so as immigrant ships passed under the torch and the shining face, heading toward Ellis Island. However, it was Lazarus's poem that permanently stamped on Miss Liberty, the role of unofficial greeter of incoming immigrantsâ. In the current political climate, Lazarus's words remain relevant and poignant.
$2.50
2.33 €
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Chorale SATB
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Dorian Kelly
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Dorian Kelly
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Your Teeming Shore
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Modal Music
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SheetMusicPlus
Winter (SATB)
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.866160 Composed by Dorian …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.866160 Composed by Dorian Kelly. Christmas,Concert,Contemporary. Octavo. 10 pages. Modal Music #6877755. Published by Modal Music (A0.866160). A new setting of Walter de la Mareâs poem âWinterâ for unaccompanied SATB choir. Suitable for an Advent or Christmas service or concert. Piano part included for rehearsal purposes. By permission of the Literary Trustees of Walter de la Mare and the Society of Authors as their representative.
$2.50
2.33 €
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Chorale SATB
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permission of the Literary Trustees of Walter de la Mare and the Society of Authors as their representative
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Dorian Kelly
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Winter
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Modal Music
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SheetMusicPlus
Hodie Christus Natus Est (SATB)
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.866164 Composed by Dorian …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.866164 Composed by Dorian Kelly. Christmas,Contemporary,Sacred. Octavo. 10 pages. Modal Music #6879447. Published by Modal Music (A0.866164). A contemporary and lively four-part setting by Dorian Kelly with piano accompaniment. Ideal for a Christmas service or concert.
$2.00
1.87 €
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Chorale SATB
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Dorian Kelly
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Hodie Christus Natus Est
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Modal Music
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SheetMusicPlus
Tibie Paiom (SATB)
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.866130 Composed by Dimitri…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.866130 Composed by Dimitri Bortnianski. Arranged by Dorian Kelly. 20th Century,A Cappella,Christian,Concert,Romantic Period,Sacred. Octavo. 3 pages. Modal Music #3033777. Published by Modal Music (A0.866130). For a cappella SATB Choir
$2.50
2.33 €
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Chorale SATB
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Dimitri Bortnianski
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Dorian Kelly
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Tibie Paiom
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Modal Music
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SheetMusicPlus
I Will Lift My Eyes To The Hills - Psalm 121 (SATB)
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.866156 Composed by Dorian …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.866156 Composed by Dorian Kelly. A Cappella,Concert,Contemporary,Sacred. Octavo. 8 pages. Modal Music #6877749. Published by Modal Music (A0.866156). A reflective setting of Psalm 121 for acapella SATB choir. Suitable for a church service or a concert performance, or as a tribute to those inspired by mountains or hills.
$2.50
2.33 €
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Chorale SATB
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Dorian Kelly
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I Will Lift My Eyes To The Hills - Psalm 121
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Modal Music
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SheetMusicPlus
Tibie Paiom (TTBB)
Chorale TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.866127 Composed by Dimitri…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.866127 Composed by Dimitri Bortnianski. Arranged by Dorian Kelly. A Cappella,Christian,Praise & Worship,Romantic Period,Sacred. Octavo. 3 pages. Modal Music #3033773. Published by Modal Music (A0.866127). For a cappella TTBB Choir
$2.50
2.33 €
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Chorale TTBB
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Dimitri Bortnianski
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Dorian Kelly
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Tibie Paiom
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Modal Music
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SheetMusicPlus
Breathe Soft Ye Winds (SSA)
Chorale 3 parties
Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.866135 Composed by William …
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Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.866135 Composed by William Paxton. Arranged by Dorian Kelly. A Cappella,Baroque,Classical,Concert,Wedding. Octavo. 5 pages. Modal Music #3035621. Published by Modal Music (A0.866135). Wiliam Paxton's beautiful setting of Ambrose Philips' poem Breathe Soft Ye Winds for a cappella SSA choir.Breathe soft ye winds, ye waters gently flow; Shield her ye trees, ye flowers around her grow.Ye swains, I beg you, pass in silence by; My love, in yonder vale, asleep doth lie.Ideal for a choral concert or recital.
$2.50
2.33 €
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Chorale 3 parties
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William Paxton
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Dorian Kelly
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Breathe Soft Ye Winds
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Modal Music
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SheetMusicPlus
Stop The Cavalry
Chorale TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.866148 By Jona Lewie. By J…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.866148 By Jona Lewie. By Jona Lewie. Arranged by Dorian Kelly. Contemporary. Octavo. 24 pages. Modal Music #6073533. Published by Modal Music (A0.866148). A TTBB choir arrangement of the Jonah Lewie alternative Christmas classic - Stop The Cavalry.Arranged by choral director Dorian Kelly, for male voice choir and piano accompaniment, with occasional (and optional) sections for kazoo!
$2.50
2.33 €
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Chorale TTBB
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Jona Lewie
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Dorian Kelly
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Stop The Cavalry
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Modal Music
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SheetMusicPlus
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