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PIANO & CLAVIERS
Piano seul
690
Piano, Voix
461
Piano, Voix et Guitare
389
Piano Facile
222
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76
1 Piano, 4 mains
42
Instruments en Do
39
Piano Trio: piano, violon, violoncelle
23
Accompagnement Piano
19
2 Pianos, 4 mains
18
Piano grosses notes
15
Accordéon
9
Piano Quatuor: piano, violon, alto, violoncelle
4
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Piano Quatuor: piano, 2 violons, violoncelle
4
1 Piano, 6 mains
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Guitare notes et tablatures
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75
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58
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12
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7
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6
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5
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5
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80
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71
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43
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29
Voix duo, Piano
17
Chorale
16
Voix haute
9
Voix duo
8
Voix Baryton, Piano
7
Voix seule
7
Voix Tenor, Piano
5
Voix, Guitare
3
Voix Soprano, Piano
3
Voix Soprano
3
Voix Mezzo-Soprano, Piano
3
Voix Alto, Piano
3
Chorale SAATB A Cappella
2
Chorale SSAATTBB
2
Chorale, Orgue
1
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1
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1
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VENTS
Quatuor de Saxophones: 4 saxophones
111
Flûte, Hautbois, Clarinette, Basson
76
2 Saxophones (duo)
62
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
60
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60
Hautbois, Piano (duo)
59
Clarinette et Piano
56
Flûte traversière
52
Clarinette
52
Saxophone (partie séparée)
47
2 Flûtes traversières (duo)
43
Quatuor de Clarinettes: 4 clarinettes
40
Saxophone Tenor et Piano
39
2 Clarinettes (duo)
37
Saxophone Alto
36
Hautbois (partie séparée)
36
Saxophone Alto et Piano
34
Saxophone Tenor
30
Quintette de Saxophone: 5 saxophones
29
Saxophone Soprano et Piano
23
Clarinette (partie séparée)
17
Flûte, Clarinette (duo)
16
3 Clarinettes (trio)
14
Saxophone, Clarinette (duo)
12
Trio de Flûtes: 3 flûtes
12
Saxophone Baryton, Piano
12
3 Saxophones (trio)
12
Quatuor de Flûtes : 4 flûtes
12
Clarinette, Violon (duo)
12
2 Hautbois (duo)
11
Ensemble de Flûtes
11
Hautbois
10
Ensemble de Clarinettes
10
Quintette de Clarinettes: 5 clarinettes
9
Flute (partie séparée)
8
Flûte, Basson et Piano
7
Quatuor de Flûtes à bec
7
Clarinette, Trompette (duo)
7
Saxophone Soprano
6
Flûte, Violon
6
Flûte, Violon, Piano
6
Harmonica
6
Saxophone Baryton
6
Clarinette et Alto
5
Ocarina
5
Hautbois, Basson (duo)
5
Hautbois, Clarinette (duo)
5
Flûte, Saxophone (duo)
5
Quintette de Flûte : 5 flûtes
4
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4
2 Flûte à bec (duo)
4
Hautbois, Flûte
4
Ensemble de saxophones
4
Flûte, Trompette (duo)
3
Saxophone
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3
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3
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3
Flûte à bec Alto
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2
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2
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Cor anglais, Piano
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2
Flûte, Alto (duo)
2
2 Flûtes, 2 Clarinettes (Quatuor)
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Cor Anglais
2
Flûte à bec Tenor
2
2 Cors Anglais Et Pianoforte
2
Hautbois, Violoncelle
1
3 Flûtes à bec (trio)
1
2 Flûtes à bec, Guitare
1
Clarinette, Tuba
1
Clarinette, trompette et piano
1
Hautbois et alto (duo)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte à bec Alto, Basse continue
1
Flûte, trombone et piano
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Hautbois, violon (duo)
1
Instruments en Mib
1
Flûte, Harpe et Violoncelle
1
Clarinette, Trombone (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Hautbois, Guitare (duo)
1
Flûte et Trio à cordes
1
Flûte à bec, Guitare (duo)
1
Clarinette, Contrebasse (duo)
1
Ensemble de Hautbois
1
Clarinette, Violoncelle (duo)
1
Flûte à bec Alto, Piano
1
Flûte, Hautbois (duo)
1
Flûte à bec Soprano, Piano
1
Flûte, Violon et Violoncelle
1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
93
Trombone et Piano
55
Trompette, Piano
51
Trompette
37
Cor et Piano
32
Trombone
32
Quatuor de Cuivres : 2 trompettes, trombone, tuba
29
Quatuor de Cuivres
27
Cor
25
Tuba et Piano
23
Trombone (partie séparée)
23
Trompette (partie séparée)
21
2 Trompettes (duo)
19
2 Trombones (duo)
19
Quatuor de Cuivres: 2 trompettes, Cor, trombone
17
Tuba
13
Euphonium, Piano (duo)
12
2 Cors (duo)
10
Trompette, Saxophone (duo)
9
Quatuor de cuivres: 4 trombones
8
Tuba (partie séparée)
8
Cor (partie séparée)
7
Trompette, Trombone (duo)
7
Trio de Cuivres
5
Trompette, Cor (duo)
4
2 Euphoniums et 2 Tubas
3
Ensemble de Trombones
3
Cor anglais, Piano
2
2 Tubas (duo)
2
Cor Anglais
2
Ensemble de Cors
2
Quatuor de cuivres: 4 trompettes
2
3 Trombones (trio)
2
Quatuor de cuivres: 4 cors
2
2 Cors Anglais Et Pianoforte
2
4 Tubas
1
Bass Clef Instruments
1
3 Tubas (trio)
1
Trombone, Orgue
1
Euphonium, Tuba (duo)
1
Cor, Violoncelle (duo)
1
Euphonium
1
2 Trompettes, Clavier (piano ou orgue)
1
Ensemble de Tubas
1
Ensemble de Trompettes
1
Instruments en Sib
1
3 Cors (trio)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
200
Violon et Piano
97
Violon
75
Alto, Piano
58
Violoncelle
56
Violoncelle, Piano
54
2 Violons (duo)
46
Harpe
43
Quintette à cordes: 2 violons, alto, violoncelle, basse
41
Alto seul
39
2 Violoncelles (duo)
37
Violon, Violoncelle (duo)
28
Contre Basse
23
Trio à Cordes: violon, alto, violoncelle
22
Contrebasse, Piano (duo)
22
Violon (partie séparée)
21
Violon, Alto (duo)
18
2 Altos (duo)
18
Alto (partie séparée)
16
Contrebasse (partie séparée)
11
Trio à cordes
9
Trio à Cordes: 2 violons, violoncelle
9
Violoncelle (partie séparée)
9
Piano Trio: Violon, Alto, Piano
8
2 Harpes (duo)
8
4 Violoncelles
7
Trio à cordes: 3 violins
7
Alto, Violoncelle (duo)
5
Violon, Guitare (duo)
4
Harpe, Flûte (duo)
4
Violoncelle , Guitare (duo)
3
Violon, Clarinette, Piano (trio)
3
2 Contrebasses (duo)
2
Violoncelle, Contrebasse (duo)
2
Harpe, Voix
2
Ensemble de Violoncelles
2
Violon, Basson (duo)
2
Violon, Basse continue
1
Trio à Cordes: 2 violons, alto
1
Flûte, Contrebasse (duo)
1
Trio à Cordes: 3 violoncelles
1
2 Violons, Piano
1
Alto et Harpe
1
2 Violoncelles, Piano
1
Alto, Guitare (duo)
1
Harpe et Piano
1
Violon, Tuba (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
492
Cloches
143
Orchestre à Cordes
115
Fanfare
101
Orchestre
97
Ensemble de cuivres
64
Orchestre de chambre
45
Ensemble Jazz
42
Percussion (partie séparée)
12
Jazz combo
10
Batterie
10
Ensemble de Percussions
10
Xylophone
6
Ensemble d'École
5
Timbales (partie séparée)
4
Batterie (partie séparée)
4
Marimba
4
Xylophone, Piano
3
Vibraphone
3
Percussion
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Piano et Orchestre
2
Orchestre, Violon
1
2 Xylophones
1
Quintette de Cuivres: autres combinaisons
1
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AUTRES
Vous avez sélectionné:
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Here Comes The Sun
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet - Advanced Intermediate - Digital Download By The Beatles. Arranged by…
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String Quartet - Advanced Intermediate - Digital Download By The Beatles. Arranged by Susie Winkworth winkmusic.co.uk. Score, Set of Parts. 19 pages. Published by winkmusic.co.uk
The Beatles' summery classic, Here Comes The Sun, for string quartet. Perfect for summer weddings, parties and events.<br> <br> Winkmusic.co.uk produces the highest quality arrangements. Tried and tested at 5* venues and concert halls, only the best make the cut. Previous commissions have appeared on Sunday Times Top 100 Albums of 2016, and are played by Classic FM chart-toppers and at festivals across the world. Educational arrangements have received excellent reviews.The Beatles' summery classic, Here Comes The Sun, for string quartet. Perfect for summer weddings, parties and events.<br> <br> Winkmusic.co.uk produces the highest quality arrangements. Tried and tested at 5* venues and concert halls, only the best make the cut. Previous commissions have appeared on Sunday Times Top 100 Albums of 2016, and are played by Classic FM chart-toppers and at festivals across the world. Educational arrangements have received excellent reviews.
$16.00
14.57 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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The Beatles
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Susie Winkworth winkmusic
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Here Comes The Sun
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SheetMusicPlus
The 12 Musical Days of Christmas: Viola
Alto (partie séparée)
String Orchestra - Digital Download SKU: AX.00-PC-0016948_VA1 Viola. Arrange…
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String Orchestra - Digital Download SKU: AX.00-PC-0016948_VA1 Viola. Arranged by Deborah Baker Monday. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016948_VA1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016948_VA1). UPC: 038081506944.Each of the 12 days brings a snippet from a different holiday tune in this fun arrangement that uses the easy keys of G and D. As the days are added, it becomes a fun-filled challenge. Surprise comes on the12th day with Hallelujah Chorus! (7:00).
$5.99
5.45 €
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Alto (partie séparée)
#
Deborah Baker Monday
#
The 12 Musical Days of Christmas: Viola
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The 12 Musical Days of Christmas: 2nd Violin
Violon (partie séparée)
String Orchestra - Digital Download SKU: AX.00-PC-0016948_VN2 2nd Violin. Ar…
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String Orchestra - Digital Download SKU: AX.00-PC-0016948_VN2 2nd Violin. Arranged by Deborah Baker Monday. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016948_VN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016948_VN2). UPC: 038081506944.Each of the 12 days brings a snippet from a different holiday tune in this fun arrangement that uses the easy keys of G and D. As the days are added, it becomes a fun-filled challenge. Surprise comes on the12th day with Hallelujah Chorus! (7:00).
$5.99
5.45 €
#
Violon (partie séparée)
#
Deborah Baker Monday
#
The 12 Musical Days of Christmas: 2nd Violin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The 12 Musical Days of Christmas: 1st Violin
Violon (partie séparée)
String Orchestra - Digital Download SKU: AX.00-PC-0016948_VN1 1st Violin. Ar…
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String Orchestra - Digital Download SKU: AX.00-PC-0016948_VN1 1st Violin. Arranged by Deborah Baker Monday. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016948_VN1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016948_VN1). UPC: 038081506944.Each of the 12 days brings a snippet from a different holiday tune in this fun arrangement that uses the easy keys of G and D. As the days are added, it becomes a fun-filled challenge. Surprise comes on the12th day with Hallelujah Chorus! (7:00).
$5.99
5.45 €
#
Violon (partie séparée)
#
Deborah Baker Monday
#
The 12 Musical Days of Christmas: 1st Violin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The 12 Musical Days of Christmas: Cello
Violoncelle (partie séparée)
String Orchestra - Digital Download SKU: AX.00-PC-0016948_VC1 Cello. Arrange…
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String Orchestra - Digital Download SKU: AX.00-PC-0016948_VC1 Cello. Arranged by Deborah Baker Monday. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016948_VC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016948_VC1). UPC: 038081506944.Each of the 12 days brings a snippet from a different holiday tune in this fun arrangement that uses the easy keys of G and D. As the days are added, it becomes a fun-filled challenge. Surprise comes on the12th day with Hallelujah Chorus! (7:00).
$5.99
5.45 €
#
Violoncelle (partie séparée)
#
Deborah Baker Monday
#
The 12 Musical Days of Christmas: Cello
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The 12 Musical Days of Christmas: String Bass
Contrebasse (partie séparée)
String Orchestra - Digital Download SKU: AX.00-PC-0016948_SB String Bass. Ar…
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String Orchestra - Digital Download SKU: AX.00-PC-0016948_SB String Bass. Arranged by Deborah Baker Monday. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016948_SB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016948_SB). UPC: 038081506944.Each of the 12 days brings a snippet from a different holiday tune in this fun arrangement that uses the easy keys of G and D. As the days are added, it becomes a fun-filled challenge. Surprise comes on the12th day with Hallelujah Chorus! (7:00).
$5.99
5.45 €
#
Contrebasse (partie séparée)
#
Deborah Baker Monday
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The 12 Musical Days of Christmas: String Bass
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The 12 Musical Days of Christmas: Score
Orchestre à Cordes
String Orchestra - Digital Download SKU: AX.00-PR-0005190 Score. Arranged by…
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String Orchestra - Digital Download SKU: AX.00-PR-0005190 Score. Arranged by Deborah Baker Monday. Instructional. Score. 6 pages. Alfred Music - Digital Sheet Music #00-PR-0005190. Published by Alfred Music - Digital Sheet Music (AX.00-PR-0005190). UPC: 038081506944.Each of the 12 days brings a snippet from a different holiday tune in this fun arrangement that uses the easy keys of G and D. As the days are added, it becomes a fun-filled challenge. Surprise comes on the12th day with Hallelujah Chorus! (7:00).
$9.00
8.2 €
#
Orchestre à Cordes
#
Deborah Baker Monday
#
The 12 Musical Days of Christmas: Score
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Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.84 €
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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
He Comes, Messiah Comes
Chorale SATB
SATB choir - Easy - Digital Download SKU: LX.10-1126 Composed by Ron Loree. Sacred …
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SATB choir - Easy - Digital Download SKU: LX.10-1126 Composed by Ron Loree. Sacred Anthem, Palm/Palm-Passion Sunday. Octavo. 8 pages. Lorenz Publishing - Digital Sheet Music #e10/1126. Published by Lorenz Publishing - Digital Sheet Music (LX.10-1126). UPC: 000308022261.SATB - Easy - Palm Sunday - A joyful musical expression of the triumphal entry.
$2.40
2.19 €
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Chorale SATB
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Ron Loree
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He Comes, Messiah Comes
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
When Christmas Comes to Town (from The Polar Express)
Chorale 2 parties
Chorus - Digital Download SKU: AX.00-PO-0002581 When Christmas Comes to Town (fr…
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Chorus - Digital Download SKU: AX.00-PO-0002581 When Christmas Comes to Town (from The Polar Express) - 2-Part. Composed by Alan Silvestri and Glen Ballard. Arranged by Alan Billingsley. Choral. 13 pages. Alfred Music - Digital Sheet Music #00-PO-0002581. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002581). UPC: 654979097297.The animated film The Polar Express was released just in time for the 2004 holiday season. It featured one of the most enjoyable and varied musical scores of any recent movie release. The story within the movie is truly an affirmation of the spirit of human kindness and the spirit of giving. It reminds us to keep the spirit of the holidays with us all year round, no matter what holiday we celebrate. Alan Billingsley has captured all the beauty of the original movie score in this delightful choral setting.
$2.25
2.05 €
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Chorale 2 parties
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Alan Silvestri and Glen Ballard
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Alan Billingsley
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When Christmas Comes to Town
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The Organ Music of Leo Sowerby - Volume 2
Orgue
Organ SKU: HL.8738398 A Joyous March * Comes Autumn Time * Prelude on The King's…
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Organ SKU: HL.8738398 A Joyous March * Comes Autumn Time * Prelude on The King's Majesty * Sonatina. Composed by Leo Sowerby. Organ. Fred Bock Publications. General Worship, Sacred. Fred Bock Music Company #BG0895. Published by Fred Bock Music Company (HL.8738398). ISBN 9781495078132. UPC: 073999383980. 9.0x12.0x0.222 inches.Celebrating the 100th birthday (May 1, 1995) of one of America's greatest church musicians, Fred Bock Music Company is privileged to release this second volume of works from Leo Sowerby. The excellence of this revered composer's music has long been recognized as a treasure for lovers of good sacred literature. Titles include: A Joyous March * Comes Autumn Time * Prelude on The King's Majesty * Sonatina.
$18.95
17.26 €
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Orgue
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Leo Sowerby
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The Organ Music of Leo Sowerby - Volume 2
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Fred Bock Music Company
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SheetMusicPlus
B.B. King : When Love Comes to Town - Version originale (niveau facile/intermédiaire)
Batterie
Téléchargez la partition Batterie When Love Comes to Town - Version original…
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Téléchargez la partition Batterie When Love Comes to Town - Version originale (niveau facile/intermédiaire) de B. B. King. Partition avec audio Play Along. -- Pop/rock
5.99 €
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Batterie
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B.B. King
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When Love Comes to Town
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Tomplay
B.B. King : When Love Comes to Town (niveau débutant)
Batterie
Téléchargez la partition Batterie When Love Comes to Town (niveau déb…
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Téléchargez la partition Batterie When Love Comes to Town (niveau débutant) de B. B. King. Partition avec audio Play Along. -- Pop/rock
5.99 €
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Batterie
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B.B. King
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When Love Comes to Town
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Tomplay
Guitar Compendium
Guitare
Technique / improvisation / musicianship / theory. This edition: method. Instrumenta…
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Technique / improvisation / musicianship / theory. This edition: method. Instrumentalunterricht, Gitarre, Theorie. The Praxis System. Downloadable. Op. Vol. 1. Advance Music #Q54672. Published by Advance Music
English.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, orEnglish.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or
$23.99
21.84 €
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Guitare
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Guitar Compendium
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Advance Music
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SheetMusicPlus
He Comes to Us as One Unknown (Downloadable)
Piano seul
Piano - Moderately Easy - Digital Download SKU: MQ.15-857-06E Composed by Thomas Ke…
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Piano - Moderately Easy - Digital Download SKU: MQ.15-857-06E Composed by Thomas Keesecker. 9/11 Service, Funeral. 3 pages. MorningStar Music Publishers - Digital Sheet Music #15-857-06E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.15-857-06E). The final volume in our popular series of reflective piano music books, The Quiet Heart was written at a time when the composer was experiencing health issues, and the resulting focus is on healing and comfort. However, don't expect all the material to be subdued—there are several titles written as dances, inspired by Psalm 30: You have turned my mourning into dancing. As in the previous volumes of hymn-based piano settings, the rather uncomplicated writing belies the musical impact.
$5.00
4.55 €
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Piano seul
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Thomas Keesecker
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He Comes to Us as One Unknown
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
The Sun Comes Up
Piano seul
Piano - Elementary - Digital Download SKU: F0.W9338 Composed by Timothy Brown. Shee…
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Piano - Elementary - Digital Download SKU: F0.W9338 Composed by Timothy Brown. Sheet Music. Written For You. Solo Sheet. 3 pages. The FJH Music Company - Digital #W9338. Published by The FJH Music Company - Digital (F0.W9338). UPC: 674398225156.A lyrical elementary level solo that depicts the radiance and joyful feeling of the sun rising and the beginning of a brand new day. The beauty of this piece lies in its simplicityAC/a,!aEUR the melody, harmony and lyrics are sweet and simple, yet very expressive. About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$2.95
2.69 €
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Piano seul
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Timothy Brown
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The Sun Comes Up
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The FJH Music Company - Digital
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SheetMusicPlus
Anything Goes (from the musical Anything Goes)
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0002241 Anything Goes (from the musical …
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Chorus - Digital Download SKU: AX.00-PO-0002241 Anything Goes (from the musical Anything Goes) - SATB. Composed by Cole Porter. Arranged by Philip Kern. Choral. 13 pages. Alfred Music - Digital Sheet Music #00-PO-0002241. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002241). UPC: 038081266381.From Cole Porter's landmark 1934 musical, Anything Goes, comes this rousing showstopper, brilliantly arranged by Philip Kern. Features an opening female solo, outstanding choral scoring, and a classic Porter-style piano accompaniment.
$2.25
2.05 €
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Chorale SATB
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Cole Porter
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Philip Kern
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Anything Goes
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
What Goes Around... Comes Around
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-PIP-000022 By Justin Timberlake. P…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PIP-000022 By Justin Timberlake. Pop/Rock. 7 pages. Alfred Music - Digital Sheet Music #00-PIP-000022. Published by Alfred Music - Digital Sheet Music (AX.00-PIP-000022). UPC: 038081306360.Alfred is pleased to release the sheet music for Justin Timberlake's hit song What Goes Around...Comes Around. What Goes Around...Comes Around is from Justin Timberlake's Billboard chart-topping record FutureSex/LoveSounds. This sheet music provides the lyrics along with piano and chord arrangements for the song.
$3.99
3.63 €
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Piano, Voix et Guitare
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Justin Timberlake
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What Goes Around... Comes Around
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Here Comes That Rainy Day Feeling Again
Dulcimer
Mountain Dulcimer - Advanced Intermediate - Digital Download By The Fortunes. Arranged b…
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Mountain Dulcimer - Advanced Intermediate - Digital Download By The Fortunes. Arranged by Larry Conger. Tablature. 4 pages. Published by Larry Conger/Dulcimerican Music
This pop hit from 1971 is arranged for mountain dulcimer in 1-5-8 or DAD tuning. It is intended for the upper intermediate level player with a solid knowledge of three finger chords and chord-melody style of playing. The primary challenge will be the numerous syncopated rhythms found throughout the song. Listening to the original version by The Fortunes should help to understand these rhythms. The arrangement requires a 1 fret as well as a 0 fret. Three pages. Tablature, standard musical notation, lyrics and guitar accompaniment chords are included.This pop hit from 1971 is arranged for mountain dulcimer in 1-5-8 or DAD tuning. It is intended for the upper intermediate level player with a solid knowledge of three finger chords and chord-melody style of playing. The primary challenge will be the numerous syncopated rhythms found throughout the song. Listening to the original version by The Fortunes should help to understand these rhythms. The arrangement requires a 1 fret as well as a 0 fret.
Three pages. Tablature, standard musical notation, lyrics and guitar accompaniment chords are included.
$4.99
4.54 €
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Dulcimer
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The Fortunes
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Larry Conger
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Here Comes That Rainy Day Feeling Again
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Larry Conger/Dulcimerican Music
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SheetMusicPlus
Winter Comes
Chorale SATB
SATB choir, Piano - Digital Download SKU: LX.15-3302H Arranged by John Ness Beck. …
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SATB choir, Piano - Digital Download SKU: LX.15-3302H Arranged by John Ness Beck. Secular Christmas. Octavo. 12 pages. Heritage Music Press #e15/3302H. Published by Heritage Music Press (LX.15- 3302H). ISBN 9780787717896. Text: Charlotte Lee.
John Ness Beck's iconic arrangement pairs a well-known carol tune with a descriptive text about the natural splendor of the landscape as the seasons change. The varied choral textures create musical interest and make this piece an evocative addition to any December concert.John Ness Beck's iconic arrangement pairs a well-known carol tune with a descriptive text about the natural splendor of the landscape as the seasons change. The varied choral textures create musical interest and make this piece an evocative addition to any December concert.
$2.50
2.28 €
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Chorale SATB
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John Ness Beck
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Winter Comes
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Heritage Music Press
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SheetMusicPlus
When the Curtain Comes Down
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015535 By Diana Krall. By Al L…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015535 By Diana Krall. By Al Lewis, Al Sherman, and Carl Hoefle. Jazz. 6 pages. Alfred Music - Digital Sheet Music #00-PS-0015535. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0015535). ISBN 9780739093771. UPC: 038081452937.This official piano sheet music companion folio to Diana Krall's 11th studio album will delight any pianist who loves jazz and blues. The melodic 1920s- and '30s-era songs are naturally enjoyable at the keys, as are the songs from later eras, like Lonely Avenue and Wide River to Cross. Vocal melodies, complete lyrics, and chords are included. Titles: We Just Couldn't Say Goodbye * There Ain't No Sweet Man That's Worth the Salt of My Tears * Just Like a Butterfly That's Caught in the Rain * You KnowF--I Know Ev'rything's Made for Love * Glad Rag Doll * I'm a Little Mixed Up * Prairie Lullaby * Here Lies Love * I Used to Love You but It's All Over Now * Let It Rain * Lonely Avenue * Wide River to Cross * When the Curtain Comes Down.
$3.99
3.63 €
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Piano, Voix et Guitare
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Diana Krall
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When the Curtain Comes Down
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fantasia on "Christmas Comes Anew": (wp) 1st Horn in E-flat
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0014915_WPEH1 (wp) 1st Horn in E-f…
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Concert Band - Digital Download SKU: AX.00-PC-0014915_WPEH1 (wp) 1st Horn in E-flat. Arranged by Michael Story. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014915_wpEH1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014915_WPEH1). UPC: 038081408729.Christmas Comes Anew, also known as Noel Nouvelet and Sing We Now of Christmas, is a popular French carol written in the early 1500s. Michael Story's fantasia setting will be sure to bring a holiday smile to the faces of all!
$3.00
2.73 €
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Orchestre d'harmonie
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Michael Story
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Fantasia on "Christmas Comes Anew":
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fantasia on "Christmas Comes Anew": (wp) B-flat Tuba B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0014915_WPTBBBC (wp) B-flat Tuba B…
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Concert Band - Digital Download SKU: AX.00-PC-0014915_WPTBBBC (wp) B-flat Tuba B.C.. Arranged by Michael Story. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014915_wpTBBBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014915_WPTBBBC). UPC: 038081408729.Christmas Comes Anew, also known as Noel Nouvelet and Sing We Now of Christmas, is a popular French carol written in the early 1500s. Michael Story's fantasia setting will be sure to bring a holiday smile to the faces of all!
$3.00
2.73 €
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Orchestre d'harmonie
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Michael Story
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Fantasia on "Christmas Comes Anew":
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fantasia on "Christmas Comes Anew": (wp) Baritone T.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0014915_WPBTC1 (wp) Baritone T.C.
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Concert Band - Digital Download SKU: AX.00-PC-0014915_WPBTC1 (wp) Baritone T.C.. Arranged by Michael Story. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014915_wpBTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014915_WPBTC1). UPC: 038081408729.Christmas Comes Anew, also known as Noel Nouvelet and Sing We Now of Christmas, is a popular French carol written in the early 1500s. Michael Story's fantasia setting will be sure to bring a holiday smile to the faces of all!
$3.00
2.73 €
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Orchestre d'harmonie
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Michael Story
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Fantasia on "Christmas Comes Anew":
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fantasia on "Christmas Comes Anew": (wp) B-flat Baritone B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0014915_WPBBBC (wp) B-flat Bariton…
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Concert Band - Digital Download SKU: AX.00-PC-0014915_WPBBBC (wp) B-flat Baritone B.C.. Arranged by Michael Story. Instructional. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014915_wpBBBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014915_WPBBBC). UPC: 038081408729.Christmas Comes Anew, also known as Noel Nouvelet and Sing We Now of Christmas, is a popular French carol written in the early 1500s. Michael Story's fantasia setting will be sure to bring a holiday smile to the faces of all!
$3.00
2.73 €
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Orchestre d'harmonie
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Michael Story
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Fantasia on "Christmas Comes Anew":
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
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