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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
More Rhythm
Non classifié
1 595
Piano & claviers
Piano grosses notes
3 297
Orgue
1 549
Piano seul
474
Piano Facile
306
Clavier
59
Piano, Voix
58
Piano, Voix et Guitare
44
Instruments en Do
43
1 Piano, 4 mains
20
Accompagnement Piano
17
2 Pianos, 4 mains
13
Piano Trio: piano, violon, violoncelle
11
Piano Quatuor: piano, violon, alto, violoncelle
6
Accordéon
3
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano (partie séparée)
1
+ 12 instrumentations
Retracter
Guitares
Guitare notes et tablatures
87
Guitare
60
Basse electrique
12
Dulcimer
9
Banjo
7
Ligne De Mélodie, (Paroles) et Accords
6
2 Guitares (duo)
6
Mandoline
5
Ukulele
5
4 Guitares (Quatuor)
3
Ensemble de guitares
3
3 Guitares (trio)
2
Ukulele Baryton
1
Guitare (partie séparée)
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
198
Chorale 3 parties
61
Pack Instrumental pour Chorale
47
Chorale 2 parties
28
Chorale TTBB
24
Chorale Unison
17
Chorale SSAA
16
Voix seule
6
Voix duo, Piano
5
Voix Soprano, Piano
3
Voix haute
2
Voix duo
2
Voix Alto, Piano
2
Chorale SSATB
1
Chorale SSAB, Piano
1
Chorale SSAATTBB
1
Voix basse, Piano
1
Voix moyenne, Piano
1
+ 13 instrumentations
Retracter
Vents
2 Saxophones (duo)
481
Saxophone, Clarinette (duo)
239
2 Clarinettes (duo)
226
Clarinette, Violon (duo)
179
2 Flûtes traversières (duo)
179
Clarinette, Trompette (duo)
159
2 Hautbois (duo)
96
Flûte, Clarinette (duo)
96
Hautbois, Clarinette (duo)
91
Clarinette et Alto
90
Flûte, Saxophone (duo)
87
Flûte, Violon
85
Hautbois, Basson (duo)
82
Flûte, Alto (duo)
73
Flûte, Trompette (duo)
72
Hautbois, Flûte
69
Flûte traversière et Piano
57
Quatuor de Saxophones: 4 saxophones
50
Clarinette et Piano
44
Saxophone Alto et Piano
42
Clarinette
39
Hautbois, Piano (duo)
38
Saxophone Tenor et Piano
36
2 Flûte à bec (duo)
34
Saxophone Soprano et Piano
31
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
28
Hautbois (partie séparée)
28
Saxophone Alto
26
Flûte, Hautbois, Clarinette, Basson
23
Flûte traversière
23
Clarinette Basse, Piano
23
Quatuor de Clarinettes: 4 clarinettes
23
Flûte, Hautbois (duo)
22
Saxophone Tenor
21
Saxophone Baryton, Piano
17
3 Saxophones (trio)
17
Saxophone (partie séparée)
16
Quatuor de Flûtes : 4 flûtes
15
Hautbois, violon (duo)
15
Ensemble de Flûtes
12
Ensemble de Clarinettes
12
Flûte à bec Soprano
11
Cor anglais, Piano
9
Trio de Flûtes: 3 flûtes
8
Quintette de Saxophone: 5 saxophones
8
3 Clarinettes (trio)
8
Clarinette, Trombone (duo)
7
Ensemble de saxophones
6
Flûte et Guitare
6
Clarinette (partie séparée)
6
Cor Anglais
6
Flûte, Violon, Piano
5
3 Flûtes à bec (trio)
5
Saxophone
4
Ocarina
3
Clarinette, Basson (duo)
3
Hautbois, Clarinette, Basson (trio d'anches)
2
Quatuor de Flûtes à bec
2
Saxophone Soprano
2
Flûte à bec Alto, Piano
2
Flûte, Violoncelle
2
Flute (partie séparée)
2
Saxophone Baryton
2
Flûte à bec Alto
2
Hautbois, Violoncelle
2
Flûte, Clarinette et Basson
2
2 Saxophones, Piano
2
Flûte à bec Soprano, Piano
1
Hautbois
1
Quintette de Clarinettes: 5 clarinettes
1
Flûte à Bec
1
Clarinette, Guitare (duo)
1
Harmonica
1
Quintette de Flûte : 5 flûtes
1
Clarinette Basse
1
Clarinette, Violoncelle (duo)
1
5 Flûtes à bec
1
Flûte, Hautbois, Piano (trio)
1
Piccolo, Piano
1
3 Hautbois
1
Ensemble De Flûte à bec
1
Clarinette, Harpe (duo)
1
2 Flûtes, 2 Clarinettes (Quatuor)
1
+ 78 instrumentations
Retracter
Cuivres
Trompette, Saxophone (duo)
169
2 Trombones (duo)
102
2 Trompettes (duo)
98
Trompette, Trombone (duo)
90
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
46
Trompette, Piano
40
Trombone et Piano
36
Trompette
27
Cor et Piano
22
Trombone
22
Euphonium, Piano (duo)
19
Quatuor de Cuivres : 2 trompettes, trombone, tuba
16
Tuba et Piano
14
Cor
13
Tuba
12
Trompette (partie séparée)
11
Trombone (partie séparée)
11
Cor anglais, Piano
9
2 Euphoniums (duo)
8
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Quatuor de cuivres: 4 trombones
7
Cor (partie séparée)
6
3 Trompettes (trio)
6
Cor Anglais
6
Quatuor de Cuivres
4
2 Cors (duo)
4
Ensemble de Trombones
4
Ensemble de Trompettes
3
2 Tubas (duo)
3
Quatuor de cuivres: 4 cors
3
Euphonium
3
Cor, Tuba (duo)
2
Trompette, Tuba (duo)
2
Trombone, Cor (duo)
2
Tuba (partie séparée)
2
Euphonium, Tuba (duo)
2
Trombone, Orgue
1
Tuba et Orgue
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trompette, Basson (duo)
1
Ensemble de Cors
1
+ 36 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
171
Violon, Violoncelle (duo)
138
2 Violons (duo)
110
2 Altos (duo)
108
2 Violoncelles (duo)
103
Violon, Alto (duo)
95
Violon
65
Violon et Piano
61
Alto, Piano
38
Harpe
37
Violoncelle
34
Violoncelle, Piano
33
Trio à Cordes: violon, alto, violoncelle
29
Trio à Cordes: 2 violons, violoncelle
22
Alto seul
18
Contrebasse, Piano (duo)
17
Violon (partie séparée)
12
Alto (partie séparée)
9
Trio à cordes: 3 violins
7
Contre Basse
5
Alto, Violoncelle (duo)
5
Contrebasse (partie séparée)
5
Violon, Guitare (duo)
4
4 Violoncelles
3
Quatuor à cordes: 4 violons
3
Violoncelle, Contrebasse (duo)
3
Alto, Guitare (duo)
2
Trio à cordes: 3 altos
2
2 Contrebasses (duo)
2
Piano Trio: Violon, Alto, Piano
2
Violoncelle (partie séparée)
2
Trio à Cordes: 2 violons, alto
2
Trio à Cordes: 3 violoncelles
2
Harpe et mandoline
1
Violon, Clarinette, Piano (trio)
1
Autoharp
1
Ensemble de Violoncelles
1
4 Contrebasses
1
4 Harpes
1
Violon, Basson (duo)
1
Violoncelle , Guitare (duo)
1
+ 36 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
388
Orchestre
179
Ensemble Jazz
121
Orchestre à Cordes
105
Jazz combo
44
Cloches
38
Ensemble de cuivres
29
Orchestre de chambre
21
Ensemble de Percussions
19
Batterie
16
Xylophone, Piano
12
Fanfare
7
Ensemble d'École
5
Marimba
5
Piano et Orchestre
4
Percussion (partie séparée)
4
Percussion
3
Xylophone
3
Marimba, Piano (duo)
1
Batterie (partie séparée)
1
Vibraphone
1
2 Xylophones
1
Instrumentation Flexible
1
2 Marimbas
1
+ 19 instrumentations
Retracter
Autres
Théorie de la musique
1
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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
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…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
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More Rhythm
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9976
Days of Elijah (arr. Richard Kingsmore) (22-Piece Digital Pack)
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Pack Instrumental pour Chorale
#
Musique Sacrée
#
Richard Kingsmore
#
Days of Elijah
#
Hal Leonard - Digital
#
SheetMusicPlus
Choir - SKU: HX.477704 Arranged by Richard Kingsmore. This edition: scorch. Praise & Worship. Choral Instrumental Pak. 5 pages. Hal Leonard - Digital #5...
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Choir - SKU: HX.477704 Arranged by Richard Kingsmore. This edition: scorch. Praise & Worship. Choral Instrumental Pak. 5 pages. Hal Leonard - Digital #54297. Published by Hal Leonard - Digital (HX.477704).
Digital Pack includes
:
Days of Elijah (arr. Richard Kingsmore) - Full Score
Days of Elijah (arr. Richard Kingsmore) - Flute 1 & 2
Days of Elijah (arr. Richard Kingsmore) - Oboe
Days of Elijah (arr. Richard Kingsmore) - Clarinet 1 & 2
Days of Elijah (arr. Richard Kingsmore) - Horn 1 & 2
Days of Elijah (arr. Richard Kingsmore) - Trumpet 1
Days of Elijah (arr. Richard Kingsmore) - Trombone 1 & 2
Days of Elijah (arr. Richard Kingsmore) - Alto Sax 1 & 2 (Sub. Horn)
Days of Elijah (arr. Richard Kingsmore) - Trombone 3/Tuba
Days of Elijah (arr. Richard Kingsmore) - Trumpet 2 & 3
Days of Elijah (arr. Richard Kingsmore) - Bb Tenor Sax/Bar. TC (Trb 1,2)
Days of Elijah (arr. Richard Kingsmore) - Percussion 1 & 2
Days of Elijah (arr. Richard Kingsmore) - Drum Set
Days of Elijah (arr. Richard Kingsmore) - Harp
Days of Elijah (arr. Richard Kingsmore) - Viola
Days of Elijah (arr. Richard Kingsmore) - Rhythm
Days of Elijah (arr. Richard Kingsmore) - Clarinet 3 (Sub. Viola)
Days of Elijah (arr. Richard Kingsmore) - Cello/Bassoon
Days of Elijah (arr. Richard Kingsmore) - Violin I & II
Days of Elijah (arr. Richard Kingsmore) - Bass Clarinet (Sub. Cello)
Days of Elijah (arr. Richard Kingsmore) - String Bass
Days of Elijah (arr. Richard Kingsmore) - Keyboard String Reduction
$75.00
Jesus (arr. Richard Kingsmore) (9-Piece Digital Pack)
#
Pack Instrumental pour Chorale
#
Musique Sacrée
#
Chris Tomlin
#
Richard Kingsmore
#
Jesus
#
Hal Leonard - Digital
#
SheetMusicPlus
SKU: HX.385978 By Chris Tomlin. Arranged by Richard Kingsmore. This edition: scorch. Christian,Sacred. Choral Instrumental Pak. 4 pages. Hal Leonard - D...
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SKU: HX.385978 By Chris Tomlin. Arranged by Richard Kingsmore. This edition: scorch. Christian,Sacred. Choral Instrumental Pak. 4 pages. Hal Leonard - Digital #276457. Published by Hal Leonard - Digital (HX.385978).
Digital Pack includes
:
Jesus (arr. Richard Kingsmore) - Full Score
Jesus (arr. Richard Kingsmore) - Percussion
Jesus (arr. Richard Kingsmore) - Drums
Jesus (arr. Richard Kingsmore) - Rhythm
Jesus (arr. Richard Kingsmore) - Violin 1
Jesus (arr. Richard Kingsmore) - Violin 2
Jesus (arr. Richard Kingsmore) - Viola
Jesus (arr. Richard Kingsmore) - Cello
Jesus (arr. Richard Kingsmore) - Keyboard String Reduction
$40.00
More Than Amazing (21-Piece Digital Pack)
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Pack Instrumental pour Chorale
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Musique Sacrée
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Christian contemporain
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Lincoln Brewster and Mia Field
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Richard Kingsmore
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More Than Amazing
#
Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.193556 Composed by Lincoln Brewster and Mia Fieldes. Arranged by Richard Kingsmore. Christian,Concert,Contemporary,Praise & Worship,Sacred. Chor...
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SKU: HX.193556 Composed by Lincoln Brewster and Mia Fieldes. Arranged by Richard Kingsmore. Christian,Concert,Contemporary,Praise & Worship,Sacred. Choral Instrumental Pak. 4 pages. Duration 310. Hal Leonard - Digital #212282. Published by Hal Leonard - Digital (HX.193556).
Digital Pack includes
:
More Than Amazing - Full Score
More Than Amazing - Flute 1 & 2
More Than Amazing - Oboe
More Than Amazing - Clarinet 1 & 2
More Than Amazing - Bb Trumpet 1
More Than Amazing - Bb Trumpet 2,3
More Than Amazing - F Horn
More Than Amazing - Trombone 1 & 2
More Than Amazing - Trombone 3/Tuba
More Than Amazing - Percussion
More Than Amazing - Harp
More Than Amazing - Drums
More Than Amazing - Rhythm
More Than Amazing - Violin 1, 2
More Than Amazing - Viola
More Than Amazing - Cello
More Than Amazing - Double Bass
More Than Amazing - Alto Sax (sub. Horn)
More Than Amazing - Tenor Sax (sub. Tbn 2)
More Than Amazing - Bass Clarinet (sub. Tuba)
More Than Amazing - Keyboard String Reduction
$75.00
When I Survey the Wondrous Cross with O Sacred Head Now Wounded (Rhythm)
Rhythm Part
#
New Age
#
Lowell Mason and Hans Leo Hass
#
Richard Kingsmore
#
When I Survey the Wondrous Cro
#
Kingsmore MusicWorks, Inc.
#
SheetMusicPlus
Composed by Lowell Mason and Hans Leo Hassler. Arranged by Richard Kingsmore. Christian, Smooth Jazz, Easter, Recital, New Age. Individual Part. 2 pages. Publis...
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Composed by Lowell Mason and Hans Leo Hassler. Arranged by Richard Kingsmore. Christian, Smooth Jazz, Easter, Recital, New Age. Individual Part. 2 pages. Published by Kingsmore MusicWorks, Inc. (S0.114399). - Individual Part - Christian,Smooth Jazz,Easter,Recital,New Age - Kingsmore MusicWorks, Inc.
$2.99
Amazing Grace (rhythm)
Rhythm Section (Guitar,Mandolin,Bass,Drums,Percussion)
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Celtique/Irlandais
#
Traditional American Melody
#
Richard Kingsmore
#
Amazing Grace
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Kingsmore MusicWorks, Inc.
#
SheetMusicPlus
Composed by Traditional American Melody. Arranged by Richard Kingsmore. Sacred, Celtic, Easter, Wedding, Recital. Individual Part. 2 pages. Published by Kingsmo...
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Composed by Traditional American Melody. Arranged by Richard Kingsmore. Sacred, Celtic, Easter, Wedding, Recital. Individual Part. 2 pages. Published by Kingsmore MusicWorks, Inc. (S0.113609). - Individual Part - Sacred,Celtic,Easter,Wedding,Recital - Kingsmore MusicWorks, Inc.
$2.99
Days of Elijah (arr. Richard Kingsmore) - Rhythm
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Pack Instrumental pour Chorale
#
Musique Sacrée
#
Richard Kingsmore
#
Days of Elijah
#
Hal Leonard - Digital
#
SheetMusicPlus
Choir - SKU: HX.477697 Arranged by Richard Kingsmore. This edition: scorch. Praise & Worship. Choral Instrumental Pak. 2 pages. Hal Leonard - Digital #5...
(+)
Choir - SKU: HX.477697 Arranged by Richard Kingsmore. This edition: scorch. Praise & Worship. Choral Instrumental Pak. 2 pages. Hal Leonard - Digital #54297. Published by Hal Leonard - Digital (HX.477697).
$7.00
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Chorale SATB
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INTERMÉDIAIRE
#
Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 2 - Eighths
#
Dots and Beams
#
SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #47...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #4776187. Published by Dots and Beams (A0.931836). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 1 - Eighths
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
Classic Guitar Solos on Latin American Rhythms
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Latin/Musique du monde
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Jorge Morel
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Classic Guitar Solos on Latin
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
In Notation And Tablature. Composed by Jorge Morel. E- book. 28 pages. Mel Bay Publications - Digital Sheet Music #21260EB. Published by Mel Bay Public...
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In Notation And Tablature. Composed by Jorge Morel. E- book. 28 pages. Mel Bay Publications - Digital Sheet Music #21260EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619119420.
Classic Guitar Solos on Latin American Rhythms is a follow-up to the popular dance rhythms featured in Latin American Rhythms for Guitar. Renowned Argentine virtuoso Jorge Morel offers insight in the playing of complex Latin dance rhythms: the milonga, tango, malambo, and baiao -plus a bossa nova tune! Written in standard notation and tablature.
$9.99
Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano
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J
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James M
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Bach-Gounod: Ave Maria, Schwen
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.550930 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,S...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.550930 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and individual part. 12 pages. Jmsgu3 #4888395. Published by jmsgu3 (A0.550930). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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I encourage you to use both
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Pitch and Rhythm - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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I encourage you to use both
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Pitch and Rhythm - Bass Clef,
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Dots and Beams
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SheetMusicPlus
Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Co...
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Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269061. Published by Dots and Beams (A0.931833). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second e.
$10.00
Bach-Gounod: Ave Maria for Oboe d'Amore & Piano
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Bach-Gounod
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James M
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Piano - S0
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Bach-Gounod: Ave Maria for Obo
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.549360 Composed by Bach-Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Eas...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.549360 Composed by Bach-Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Easter,Wedding. Score and individual part. 12 pages. Jmsgu3 #3490109. Published by jmsgu3 (A0.549360). This arrangement follows the original Bach prelude and so excludes the extra measure that Schwencke introduced in 1783. If you prefer the extra measure, please see Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano - S0.661867. The convenient 1st & 2nd endings provide an option for extended performance with minimal page turns for the accompanist. The duration with repeat is about 4:50. Score: 6 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. Â
$32.95
Bach: Wachet auf for Oboe d'Amore & Piano
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Classique
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Oboe d'Am
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.552247 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.552247 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3554879. Published by jmsgu3 (A0.552247). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.
$24.95
DvoÅ™ák: Largo from the New World Symphony for Oboe d'Amore & Piano
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Classique
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Antonin Dvorak
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James M
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DvoÅ™ák: Largo from
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.549427 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic ...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.549427 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3494165. Published by jmsgu3 (A0.549427). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25 Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895. Â
$32.95
Rhythmix for middle school concert band (SCORE AND PARTS)
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Orchestre d'harmonie
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DÉBUTANT
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Ashlee T Busch
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Rhythmix for middle school con
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Ashlee T Busch
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.782642 Composed by Ashlee T Busch. 20th Century,Contemporary,Instructional,New Age. Score and parts. 106 pages. Ashlee ...
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Concert Band - Level 1 - SKU: A0.782642 Composed by Ashlee T Busch. 20th Century,Contemporary,Instructional,New Age. Score and parts. 106 pages. Ashlee T Busch #6491021. Published by Ashlee T Busch (A0.782642). Rhythmix is about rhythm fun for younger band students. Merging grooving patterns and teachable moments in a somewhat polyrhythmic structure, Rhythmix was designed to introduce students to complex metrical structures early in the development of their musicianship. In my music, I always strive to provide both the ensemble and conductor with energetic and invigorating musical experiences while simultaneously employing enough complexity to challenge students and creating opportunities for conductors to improve students’ musicianship and understanding.Both the score and parts are included in this selection.Find out more about the composer, Ashlee T Busch, here: http://ashleebusch.com
$45.00
Baltimore Rowhouse
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Ensemble Jazz
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AVANCÉ
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Roger Aldridge
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Baltimore Rowhouse
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Roger Aldridge
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 5 - SKU: A0.979671 Composed by Roger Aldridge. CSIC Library Series. Contemporary,Jazz,Rock. Score and parts. 17 page...
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Jazz Ensemble Jazz Ensemble - Level 5 - SKU: A0.979671 Composed by Roger Aldridge. CSIC Library Series. Contemporary,Jazz,Rock. Score and parts. 17 pages. Roger Aldridge #1989671. Published by Roger Aldridge (A0.979671). Baltimore Rowhouse (for jazz soloist, 5 wind instruments, and rhythm section) is an extended piece with dramatic changes in mood and style. It begins as a ballad featuring alto sax, suddenly shifts to rock-fusion guitar, and finally has a film noir flavor. Serial techniques are used in subtle ways throughout the score and provide compositional structure. The piece strikes a balance between notation and improvisational freedom for both the soloists and the ensemble musicians. The score was originally conceived for woodwind quintet (with alto flute). Alternate parts are provided for an assortment of commonly-used wind instruments. In this way, the piece can be performed by many combinations of instruments. As another possibility, two (or more) musicians can be used on each wind instrument part. This option of having doubled parts -- with either same or different instruments on a part -- is an easy way for larger ensembles to perform this music. PARTS: The set of parts are available at BALTIMORE ROWHOUSE PARTS (S0.84817). CONTACT: http://www.rogeraldridge.com/contact.html PRO: BMI WEBSITE: http://www.rogeraldridge.com/ VIDEO: https://youtu.be/XlpIyVoJHkc DURATION: around 5:00 YEAR OF RELEASE: 2011 PERFORMANCE: The score is concert pitch and uses flexible instrumentation. Note: As a performance option, omit the into and start with the soloist's triplet pickups in measure 8. ENSEMBLE CONCEPTS: http://www.rogeraldridge.com/mid-size-ensemble.html.
$10.00
'La Morena Cubana'
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Quatuor de Clarinettes: 4 clarinettes
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INTERMÉDIAIRE
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Latin/Musique du monde
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Joaquin Malats
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Stephen Davies
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'La Morena Cubana'
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Stephen Davies
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SheetMusicPlus
Clarinet Quartet,Woodwind Ensemble Bass Clarinet - Level 3 - SKU: A0.1384271 Composed by Joaquin Malats. Arranged by Stephen Davies. 20th Century,Chambe...
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Clarinet Quartet,Woodwind Ensemble Bass Clarinet - Level 3 - SKU: A0.1384271 Composed by Joaquin Malats. Arranged by Stephen Davies. 20th Century,Chamber,Folk,Jazz,Latin. 34 pages. Stephen Davies #968582. Published by Stephen Davies (A0.1384271). Joaquin Malats was a much admired pianist and composer in his day, hailing from Barcelona, and was especially feted by the great Albeniz. This lesser known piece is wonderfully rhythmic and enjoyable to play. I have also added a small Latin Rhythm Section, just to add to the fun!
$15.99
La Morena Cubana for Saxophone Quartet and Latin Percussion.!!
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE
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Jazz
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Joaquin Malats
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Stephen Davies
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La Morena Cubana for Saxophone
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Stephen Davies
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SheetMusicPlus
Small Ensemble Alto Saxophone,Baritone Saxophone,Percussion,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.891933 Composed by Joaquin Malats. Arr...
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Small Ensemble Alto Saxophone,Baritone Saxophone,Percussion,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.891933 Composed by Joaquin Malats. Arranged by Stephen Davies. Jazz,Standards. Score and parts. 35 pages. Stephen Davies #4323223. Published by Stephen Davies (A0.891933). Joaquin Malats was a much admired pianist and composer in his day, hailing from Barcelona, and was especially feted by the great Albeniz. This lesser known piece is wonderfully rhythmic and enjoyable to play. I have also added a small Latin Rhythm Section, just to add to the fun!
$24.99
More Than Amazing - Rhythm
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Pack Instrumental pour Chorale
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Musique Sacrée
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Lincoln Brewster and Mia Field
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Richard Kingsmore
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More Than Amazing - Rhythm
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.193548 Composed by Lincoln Brewster and Mia Fieldes. Arranged by Richard Kingsmore. Christian,Concert,Contemporary,Praise & Worship,Sacred. Chor...
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SKU: HX.193548 Composed by Lincoln Brewster and Mia Fieldes. Arranged by Richard Kingsmore. Christian,Concert,Contemporary,Praise & Worship,Sacred. Choral Instrumental Pak. 5 pages. Duration 310. Hal Leonard - Digital #212282. Published by Hal Leonard - Digital (HX.193548).
$7.00
On My Lips - Rhythm
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Pack Instrumental pour Chorale
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Darren Morehouse and Ross Pars
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Richard Kingsmore
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On My Lips - Rhythm
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.127338 Composed by Darren Morehouse and Ross Parsley. Arranged by Richard Kingsmore. Concert,Contemporary,Sacred. Choral Instrumental Pak. 4 pag...
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SKU: HX.127338 Composed by Darren Morehouse and Ross Parsley. Arranged by Richard Kingsmore. Concert,Contemporary,Sacred. Choral Instrumental Pak. 4 pages. Duration 245. Hal Leonard - Digital #140054. Published by Hal Leonard - Digital (HX.127338).
$7.00
Rock Rhythms for Guitar
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Mike Christiansen
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Rock Rhythms for Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Beginning - SKU: M0.96535MEB Composed by Mike Christiansen. Rhythm and Chords. E-book and online audio. Mel Bay Publications - Digital Sheet Mu...
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Guitar - Beginning - SKU: M0.96535MEB Composed by Mike Christiansen. Rhythm and Chords. E-book and online audio. Mel Bay Publications - Digital Sheet Music #96535MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.96535MEB). ISBN 9781619115064. 8.75x11.75 inches.Basics and more for the rhythm guitarist. Includes instruction in: strum patterns, bass notes, power chords and scales, barre chords, blues-rock comping, arpeggio accompaniment, doubling the bass line, single-string rhythms, and more. The book comes with an online audio recording. Includes access to online audio.
$14.99
Amore, (Italian for Love), Flute and Trumpet Duet
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Flûte, Trompette (duo)
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INTERMÉDIAIRE/AVANCÉ
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David McKeown
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Amore,
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David McKeown
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SheetMusicPlus
Instrumental Duet Flute,Instrumental Duet,Trumpet - Level 4 - SKU: A0.590730 Composed by David McKeown. Holiday,Love,Opera,Romantic Period,Wedding. Scor...
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Instrumental Duet Flute,Instrumental Duet,Trumpet - Level 4 - SKU: A0.590730 Composed by David McKeown. Holiday,Love,Opera,Romantic Period,Wedding. Score and parts. 5 pages. David McKeown #6234339. Published by David McKeown (A0.590730). Amore, (Italian for Love), is a beautiful original composition by David McKeown, arranged as a duet for one Flute and one Trumpet, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by late nineteenth century Italian Opera, written by such composers as Giuseppe Verdi and Giacomo Puccini. Love themes were the common currency of their arias, and few genres of music can match their emotional depth and intensity.If you play to an advanced intermediate standard and upwards, then you and your audience will enjoy this piece. The Waltz rhythm should carry the melody forward with momentum and following the articulation in the score will help convey the style. Amore has a performance time of around three minutes. Click the link above to listen to a full YouTube performance of the clarinet version of Amore.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
Amore, (Italian for Love), Clarinet and Trumpet Duet
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Clarinette, Trompette (duo)
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INTERMÉDIAIRE/AVANCÉ
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David McKeown
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Amore,
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David McKeown
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SheetMusicPlus
Instrumental Duet Clarinet,Instrumental Duet,Trumpet - Level 4 - SKU: A0.590723 Composed by David McKeown. Holiday,Love,Opera,Romantic Period,Wedding. S...
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Instrumental Duet Clarinet,Instrumental Duet,Trumpet - Level 4 - SKU: A0.590723 Composed by David McKeown. Holiday,Love,Opera,Romantic Period,Wedding. Score and parts. 5 pages. David McKeown #6234325. Published by David McKeown (A0.590723). Amore, (Italian for Love), is a beautiful original composition by David McKeown, arranged as a duet for one Clarinet and one Trumpet, and is one of series of pieces celebrating Love in different languages around the world.This duet is inspired by late nineteenth century Italian Opera, written by such composers as Giuseppe Verdi and Giacomo Puccini. Love themes were the common currency of their arias, and few genres of music can match their emotional depth and intensity.If you play to an advanced intermediate standard and upwards, then you and your audience will enjoy this piece. The Waltz rhythm should carry the melody forward with momentum and following the articulation in the score will help convey the style. Amore has a performance time of around three minutes. Click the link above to listen to a full YouTube performance of the clarinet version of Amore.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
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