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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
Music by A
Sheetmusicplus
Non classifié
40 431
Piano & claviers
Piano seul
29 239
Piano, Voix
28 459
Piano Facile
10 291
Piano, Voix et Guitare
6 898
Orgue
4 559
Piano grosses notes
3 417
Instruments en Do
2 105
Accompagnement Piano
813
1 Piano, 4 mains
802
Piano (partie séparée)
535
Piano Trio: piano, violon, violoncelle
513
Accordéon
459
2 Pianos, 4 mains
239
Piano Quatuor: piano, 2 violons, violoncelle
193
Piano Quatuor: piano, violon, alto, violoncelle
104
Clavier
72
Piano Quintette: piano, 2 violons, alto, violoncelle
69
Orgue, Trompette (duo)
60
Clavecin
58
Orgue, Piano (duo)
57
1 Piano, 6 mains
34
2 Pianos, 8 mains
22
2 Accordéons
10
Fake Book
4
Accordéon et Orchestre
3
Ensemble d'Accordéons
3
Tous Les Instruments
3
Accordéon, Piano
3
Accordéon, Corde(s)
2
2 Orgues (duo)
2
Orgue, Voix
2
Ensemble de Pianos
2
Orgue et Orchestre
1
+ 28 instrumentations
Retracter
Guitares
Guitare notes et tablatures
4 837
Guitare
2 552
Ukulele
1 215
Ligne De Mélodie, (Paroles) et Accords
1 157
Basse electrique
979
Guitare (partie séparée)
936
Paroles et Accords
631
Mandoline
402
2 Guitares (duo)
377
Dulcimer
255
Piano, Guitare (duo)
208
4 Guitares (Quatuor)
135
Banjo
103
3 Guitares (trio)
64
Ensemble de guitares
57
2 Dulcimers (duo)
26
Basse électrique (partie séparée)
24
Ukulele Baryton
16
2 Ukuleles
14
Mandoline, Guitare (duo)
14
Mandoline, Piano (duo)
13
Guitare Pedal Steel
11
Guitare, Violon, Violoncelle (trio)
10
Dobro
6
2 Mandolines (duo)
4
Guitare, Quatuor à cordes
3
Orchestre à Plectres
3
Ensemble de Ukulélés
3
Guitare, Flûte, Clarinette
2
Guitare Tab, Voix, Basse, Batterie
2
Guitare, Orchestre
2
3 Dulcimers (trio)
1
Cithare
1
Luth
1
+ 29 instrumentations
Retracter
Voix
Chorale SATB
17 383
Chorale 2 parties
6 391
Chorale 3 parties
5 464
Chorale TTBB
2 657
Chorale Unison
2 589
Voix duo, Piano
2 389
Chorale SSAA
2 132
Voix duo
872
Chorale
679
Pack Instrumental pour Chorale
424
Voix Soprano, Piano
354
Voix seule
325
Voix Tenor, Piano
234
Voix Alto, Piano
232
Voix Baryton, Piano
215
Voix haute
204
Voix moyenne, Piano
110
Chorale SSAATTBB
101
Voix basse, Piano
72
Chorale SSATB
72
Voix Tenor
65
Voix Soprano
38
Chorale SSAB a cappella
37
Chorale SSATTB
37
Soli, choeur mixte et accompagnement
25
Voix Mezzo-Soprano, Piano
25
Voix basse
17
Chorale SATBB
10
Chorale SSAATB A Cappella
8
Voix, Guitare
8
Chorale SSAATB
8
Chorale SAATB A Cappella
7
Chorale SSAB, Piano
7
Voix Soprano, Orchestre
7
Chorale SATTBB A Cappella
6
Chorale, Orgue
3
Male Voice
3
Voix haute, Piano
2
Voix duo, Orgue
2
Voix Moyenne
2
Chorale SSATBB
1
Voix Baryton
1
+ 37 instrumentations
Retracter
Vents
Flûte traversière et Piano
4 164
Saxophone (partie séparée)
3 888
Quatuor de Saxophones: 4 saxophones
3 193
Clarinette et Piano
2 798
Flûte, Hautbois, Clarinette, Basson
2 517
Hautbois, Piano (duo)
2 263
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2 180
2 Saxophones (duo)
2 130
Saxophone Alto et Piano
2 019
Flûte traversière
1 968
2 Flûtes traversières (duo)
1 751
Saxophone Tenor et Piano
1 708
Clarinette
1 611
Quatuor de Clarinettes: 4 clarinettes
1 418
Saxophone Soprano et Piano
1 318
Clarinette (partie séparée)
1 257
Saxophone Alto
1 108
Quintette de Saxophone: 5 saxophones
1 052
2 Clarinettes (duo)
1 039
Saxophone Tenor
901
Hautbois (partie séparée)
882
Quatuor de Flûtes : 4 flûtes
733
Flute (partie séparée)
720
Flûte, Clarinette (duo)
644
3 Clarinettes (trio)
544
Saxophone Baryton, Piano
498
3 Saxophones (trio)
493
Ensemble de Clarinettes
473
Flûte à bec Soprano
446
2 Hautbois (duo)
407
Hautbois
402
Ensemble de Flûtes
378
Saxophone, Clarinette (duo)
373
Trio de Flûtes: 3 flûtes
371
Ensemble de saxophones
347
Flûte et Guitare
344
2 Flûte à bec (duo)
336
Clarinette, Violon (duo)
330
Quintette de Clarinettes: 5 clarinettes
329
Ocarina
303
Hautbois, Basson (duo)
279
Flûte à bec Alto
276
Harmonica
272
Cor anglais, Piano
272
Flûte, Violon, Piano
261
Hautbois, Clarinette (duo)
243
Saxophone Soprano
225
Clarinette, Trompette (duo)
223
Flûte, Violon
217
Flûte, Hautbois, Clarinette (trio)
166
Clarinette Basse, Piano
160
Clarinette et Alto
159
Flûte, Alto (duo)
145
Quatuor de Flûtes à bec
141
Flûte, Saxophone (duo)
139
Hautbois, Flûte
136
Flûte à Bec
136
Saxophone Baryton
132
Flûte, Violoncelle
130
Clarinette, Basson (duo)
129
Quintette de Flûte : 5 flûtes
126
Flûte, Clarinette et Basson
122
2 Flûtes traversières, Piano
118
Clarinette, Guitare (duo)
117
Flûte, Trompette (duo)
113
Cor Anglais
103
Flûte, Clarinette, Piano (trio)
101
Hautbois, Violoncelle
99
Hautbois, Clarinette, Basson (trio d'anches)
94
Clarinette, Violoncelle (duo)
92
Flûte, Hautbois (duo)
87
Clarinette, Harpe (duo)
87
Ensemble De Flûte à bec
84
Flûte, Violoncelle, Piano (trio)
76
Flûte à bec Alto, Piano
68
2 Clarinettes, Piano
65
5 Flûtes à bec
59
Clarinette, Violoncelle, Piano (trio)
59
Flûte, Hautbois, Basson
59
Flûte, Hautbois, Piano (trio)
54
Flûte à bec Tenor
54
Flûte, Basson et Piano
50
Saxophone
50
Piccolo
48
Flûte, Violon et Violoncelle
47
3 Flûtes à bec (trio)
47
Flûte irlandaise
46
Hautbois, violon (duo)
44
Flûte, Alto et Piano
43
Flûte, Trombone (duo)
37
2 Saxophones, Piano
36
Clarinette Basse
34
Instruments en Mib
33
Flûte, trombone et piano
33
Saxophone et Orgue
32
Hautbois et alto (duo)
31
Flûte à bec Soprano, Piano
30
Saxophone et Harpe
26
Clarinette, Trombone (duo)
25
Piccolo, Piano
24
Flûte, Clarinette, Cor, Basson (Quartet)
24
Hautbois, Guitare (duo)
23
Flûte, Violon, Violoncelle et Piano
21
Flûte à Bec, Piano
21
Hautbois, Harpe
21
Flûte à bec, Guitare (duo)
19
Ensemble à vent
19
Flute, harpe et violon
19
Clarinette, Basson, Piano (trio)
18
Flûte, Harpe et Violoncelle
18
Flûte traversière, Orgue (duo)
17
Clarinette, trompette et piano
16
Clarinette, Alto et Piano (trio)
15
4 Hautbois
15
Saxophone et Piano
15
Flûte et Trio à cordes
13
3 Hautbois
13
Hautbois, Violoncelle et Piano
11
Hautbois, Basson et Piano
11
Flûte, Violoncelle, Guitare
11
Clarinette, Contrebasse (duo)
10
Saxophone et Guitare
10
Hautbois, Clarinette et Piano (Trio)
10
Flûte, Clarinette, Violon (trio)
9
Clarinette, Orgue
8
Clarinette, Tuba
8
2 Clarinettes, Basson
8
Flûte, Tuba (duo)
8
Flûte, Violon, Guitare
7
Hautbois, trombone (duo)
7
Hautbois, Violon, Piano
7
Hautbois, Violin, Alto et Violoncelle (Quatuor)
7
Cornemuse
6
Flûte à bec Alto, Basse continue
6
Flûte, Hautbois, Violon
6
2 Cors Anglais Et Pianoforte
6
2 Flûtes à bec, Piano
5
Flûte et Quatuor à Cordes
5
Quintette de Clarinette: Clarinette, Quatuor à Cordes
5
Flute, Cor (duo)
5
Cor anglais, Guitare (duo)
5
Flûte traversière, Basse continue
5
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
5
2 Flûtes, Basse continue
4
2 Hautbois, Piano
4
Hautbois, Trompette (duo)
4
Ensemble de Hautbois
4
Flûte, alto et harpe
4
Flûte de Pan
3
2 Flûtes, 2 Clarinettes (Quatuor)
3
2 Hautbois et Basson
3
Flûte traversière, Orchestre
3
Clarinette, Orchestre
2
Flûte à bec, Harpe
2
2 Flûtes traversières, Harpe
2
Cor anglais et Harpe (duo)
2
Saxophone, Tuba (duo)
2
Hautbois et Orchestre
1
Flûte, Alto et Violoncelle
1
Flute, alto, violoncelle et guitare
1
3 Flûtes à bec, Piano
1
2 Flûtes à bec, Guitare
1
2 Hautbois, 2 Cors et 2 Bassons
1
Hautbois, Orgue
1
Saxophone et violoncelle
1
2 Hautbois et Cor anglais
1
Flûte à bec Soprano, Basse continue
1
Clarinette, Saxophone, Piano
1
+ 163 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
3 023
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2 588
Trompette (partie séparée)
2 496
Trompette, Piano
2 115
Trombone et Piano
2 114
Trompette
1 717
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1 647
Cor et Piano
1 483
Trombone
1 062
Cor
938
Cor (partie séparée)
789
Tuba et Piano
690
Quatuor de Cuivres: 2 trompettes, Cor, trombone
669
2 Trompettes (duo)
655
Tuba
655
2 Trombones (duo)
629
Tuba (partie séparée)
624
Quatuor de Cuivres
528
2 Cors (duo)
371
Trompette, Trombone (duo)
362
Quatuor de cuivres: 4 cors
303
Trompette, Saxophone (duo)
289
Trompette, Cor (duo)
284
Euphonium, Piano (duo)
276
Cor anglais, Piano
272
Quatuor de cuivres: 4 trombones
235
Ensemble de Trompettes
163
Ensemble de Trombones
155
2 Euphoniums et 2 Tubas
153
2 Tubas (duo)
137
Trio de Cuivres
121
Euphonium
108
Cor Anglais
103
4 Tubas
98
3 Trombones (trio)
91
Quatuor de cuivres: 4 trompettes
90
Ensemble de Cors
86
Quatuor de cuivres: 2 trompettes, 2 trombones
73
Bass Clef Instruments
59
3 Trompettes (trio)
53
Tuba et Orgue
44
Cor, Violoncelle (duo)
38
Trombone, Orgue
36
Trompette, Violoncelle et Piano
32
2 Trompettes, Clavier (piano ou orgue)
31
Tuba ou Euphonium ou Saxhorn
30
Trombone, Tuba (duo)
30
Cor et Harpe
30
2 Euphoniums (duo)
29
Instruments en Sib
29
Trombone, Cor (duo)
27
Trompette, Violoncelle (duo)
26
Trompette, Harpe
25
Trompette, Basson (duo)
25
Trombone basse
24
Trompette, Tuba (duo)
23
Trombone basse et Piano
21
Trompette, Trombone, Piano
21
Euphonium, Tuba (duo)
19
Cor, Tuba (duo)
19
Cor et Basson (duo)
16
3 Cors (trio)
16
Trompette et Guitare
15
Cornet A Pistons
14
3 Tubas (trio)
14
Cor et Orgue
13
2 Trombones, Piano
10
Trompette, violon (duo)
7
Ensemble de Tubas
7
Instruments en Fa
7
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
7
Trombone, Violon (duo)
7
Cornet et Piano
6
2 Cors Anglais Et Pianoforte
6
Trombone et orchestre
6
Cor, Orchestre
5
Clarinette, Cor (duo)
5
Cor, Violoncelle et Piano
5
Cor anglais, Guitare (duo)
5
2 Cors, Piano
5
3 Euphoniums
3
Trompette, Euphonium (duo)
2
Cor, Trompette, Trombone (trio)
2
Cor anglais et Harpe (duo)
2
Cornet et orchestre
2
Euphonium (partie séparée)
1
Trombone, Alto (duo)
1
4 Euphoniums
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Trompette, Orchestre
1
Trombone, violoncelle (duo)
1
+ 86 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
7 134
Violon et Piano
4 483
Violoncelle, Piano
3 113
Harpe
2 564
Violon
2 454
Alto, Piano
2 438
Violoncelle
1 667
Violon, Violoncelle (duo)
1 442
Trio à Cordes: violon, alto, violoncelle
1 240
Violon (partie séparée)
1 220
Alto seul
1 170
Contrebasse (partie séparée)
1 114
2 Violons (duo)
1 039
2 Violoncelles (duo)
735
Quintette à cordes: 2 violons, alto, violoncelle, basse
728
Violon, Alto (duo)
644
Contre Basse
589
Contrebasse, Piano (duo)
584
2 Altos (duo)
528
Alto (partie séparée)
518
Trio à Cordes: 2 violons, violoncelle
418
Piano Trio: Violon, Alto, Piano
354
Violoncelle (partie séparée)
353
Harpe, Flûte (duo)
266
2 Harpes (duo)
266
Alto, Violoncelle (duo)
202
Violon, Guitare (duo)
184
Trio à cordes: 3 violins
175
4 Violoncelles
163
Quatuor à cordes: 4 violons
115
2 Contrebasses (duo)
108
Trio à Cordes: 3 violoncelles
101
Violoncelle , Guitare (duo)
96
Violon, Basson (duo)
88
Harpe, Violon (duo)
81
Alto, Guitare (duo)
79
Violoncelle, Contrebasse (duo)
66
Trio à cordes: 3 altos
60
Quintette à cordes: 2 violons, 2 altos, violoncelle
49
Harpe, Violoncelle (duo)
49
Quatuor à cordes : 4 altos
48
Alto et Harpe
44
Trio à Cordes: 2 violons, alto
44
Alto et Basson
43
Harpe, Voix
41
Violon, Clarinette, Piano (trio)
37
2 Violons, Piano
36
Quintette à cordes : 2 violons, alto et 2 violoncelles
35
Ensemble de Violons
34
Violoncelle, Orgue
33
Ensemble d'Altos
24
Flûte, Contrebasse (duo)
21
2 Violoncelles, Piano
19
Violoncelle, Orchestre
18
Trio à cordes
13
Harpe, Violon, Violoncelle
13
Harpe et mandoline
13
Ensemble de Violoncelles
12
Violon, Orgue
12
Violon, Basse continue
12
Harpe, Trombone (duo)
12
Violoncelle, Basse continue
11
4 Contrebasses
10
Autoharp
10
Violon, Tuba (duo)
8
3 Harpes
8
Violon, Violoncelle, Clarinette
7
2 Altos, Piano
6
Harpe (partie séparée)
6
Violon, Trompette et Piano
6
Alto, Orgue
4
Harpe et Piano
4
Harpe, Quatuor à cordes
3
Harpe et Orgue
3
4 Harpes
3
3 Contrebasses
3
Alto et orchestre
2
5 Harpes
2
2 Violons et Basse continue
2
+ 74 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
21 080
Orchestre à Cordes
3 770
Ensemble Jazz
2 918
Orchestre
2 906
Fanfare
2 022
Ensemble de cuivres
1 622
Cloches
1 519
Orchestre de chambre
758
Percussion (partie séparée)
726
Batterie (partie séparée)
583
Jazz combo
574
Batterie
528
Ensemble de Percussions
261
Percussion
184
Timbales (partie séparée)
175
Marimba
119
Vibraphone
57
Xylophone
51
Xylophone, Piano
48
Piano et Orchestre
42
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
32
Timbales
29
Orchestre, Violon
26
2 Xylophones
15
Quintette à Vent
14
Quintette de Cuivres: autres combinaisons
14
Quatuor à Vent : 4 instruments à vents
13
Big band
12
Caisse Claire
10
Xylophone (partie séparée)
9
Instrumentation Flexible
8
Ensemble d'École
8
3 Marimbas
5
Marimba et Orgue
4
Xylophone ou Marimba ou Vibraphone
4
Vibraphone et Marimba
3
Vibraphone (partie séparée)
3
Voix et Orchestre
2
2 Marimbas
2
Conga
2
Cajon
2
Bongos
2
Bodhran
2
3 Percussions
2
2 Percussions
1
2 Caisses Claires (duo)
1
Marimba, Piano (duo)
1
+ 42 instrumentations
Retracter
Autres
Formation musicale - Solfège
152
Théorie de la musique
10
Papeterie
1
Partitions Gratuites
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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← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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…
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The Jazz Improvisation Workshop - Volume I
Formation musicale - Solfège
Composed by Tony Benade. Arranged by Tony Benade. Jazz, Swing, Bebop, Method, Etudes an…
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Composed by Tony Benade. Arranged by Tony Benade. Jazz, Swing, Bebop, Method, Etudes and Exercises. 119 pages. Published by Tony Benade
?The Jazz Improvisation Workshop? is an entry level music theory workbook for the intermediate and advance student who wishes to learn the theoretical components that are applied in the performance of jazz. The musical "mechanics" of music are the essence of its contents. Scales and chords of all forms are shown and explained in a simplified manner and comprehensive manner. Areas of music theory such as the Cycle of Fifths and the theory of Chord Substitution are also explained in detail. About SMP Press This product was created by a member of SMP Press, our global community of independent composers, arrangers, and songwriters. Our independent musicians have created unique compositions and arrangements for the Sheet Music Plus community, many of which are not available anywhere else. Click here to see more titles from these independent creators and to learn more about SMP Press. Please note this product may not be eligible for all sales, promotions or coupons offered through Sheet Music Plus - please check promotional details for specifics.?The Jazz Improvisation Workshop? is an entry level music theory workbook for the intermediate and advance student who wishes to learn the theoretical components that are applied in the performance of jazz. The musical "mechanics" of music are the essence of its contents. Scales and chords of all forms are shown and explained in a simplified manner and comprehensive manner. Areas of music theory such as the Cycle of Fifths and the theory of Chord Substitution are also explained in detail.
About SMP Press
This product was created by a member of SMP Press, our global community of independent composers, arrangers, and songwriters. Our independent musicians have created unique compositions and arrangements for the Sheet Music Plus community, many of which are not available anywhere else.
Click here to see more titles from these independent creators and to learn more about SMP Press.
Please note this product may not be eligible for all sales, promotions or coupons offered through Sheet Music Plus - please check promotional details for specifics.
$40.00
36.88 €
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Formation musicale - Solfège
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Tony Benade
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Tony Benade
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The Jazz Improvisation Workshop - Volume I
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Tony Benade
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SheetMusicPlus
Teddy Music
1 Piano, 4 mains
Piano (4 hands) - easy - Digital Download 10 Easy Pieces. Composed by Hermann Regner …
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Piano (4 hands) - easy - Digital Download 10 Easy Pieces. Composed by Hermann Regner (1928-). This edition: performance score. Downloadable. Duration 10 minutes. Schott Music - Digital #Q7193. Published by Schott Music - Digital
Hermann Regner, one of the most successful music teachers of the 20th century and pupil of Carl Orff, was dedicated to the fusion of instrumental education and contemporary music. Thanks to his practical compositions, he helped children, young people and amateur musicians gain access to modern music. 'Teddy Music' is a collection of 10 easy pieces for piano duet. A teddy bear leads the musician through the colourful collection in amusing illustrations. The pieces have been written for pupils and teacher, with the pupil's part being very easy and designed for the first or second year. The teddy bear can do a lot of things: he dances, swings, rides, dreams, tells stories and occasionally gets annoyed. A cheerful collection for the first steps in piano duet playing.Hermann Regner, one of the most successful music teachers of the 20th century and pupil of Carl Orff, was dedicated to the fusion of instrumental education and contemporary music. Thanks to his practical compositions, he helped children, young people and amateur musicians gain access to modern music. 'Teddy Music' is a collection of 10 easy pieces for piano duet. A teddy bear leads the musician through the colourful collection in amusing illustrations. The pieces have been written for pupils and teacher, with the pupil's part being very easy and designed for the first or second year. The teddy bear can do a lot of things: he dances, swings, rides, dreams, tells stories and occasionally gets annoyed. A cheerful collection for the first steps in piano duet playing.
$13.99
12.9 €
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1 Piano, 4 mains
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Hermann Regner
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Teddy Music
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Schott Music - Digital
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SheetMusicPlus
A Collection of New Cotillions First Set - CONDUCTOR'S SCORE ONLY
Orchestre d'harmonie
Concert Band (optional solo piano) - intermediate - Digital Download SKU: AQ.AMC-WB-003…
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Concert Band (optional solo piano) - intermediate - Digital Download SKU: AQ.AMC-WB-003SCO Composed by Francis Johnson. Arranged by Kenneth Amis. Music of Black Composers and Artists. Conductor score. 40 pages. Amis Musical Circle - Digital #AMC-WB-003SCO. Published by Amis Musical Circle - Digital (AQ.AMC-WB-003SCO). 11 x 17 inches.The 1818 publication of Francis Johnson's A Collection of New Cotillions marks the first known publication of original music by a black composer in the United States. A prolific composer, instrumentalist, teacher and conductor, Johnson led a varied and successful career in an era in U.S. history that was not inviting to black professionals. His musical interests ranged from the contemporary works of Johann Strauss Jr. to traditional, popular dances.The cotillion is a French country dance that was popular in Europe and America in the 18th century. It was originally danced by four couples in square formation and was an important influence in the development of the square dance in the United States. Francis Johnson composed two sets of six piano accompaniments for this dance. The original 1818 publication even included movement instructions for the eight dancers. The short and charming melodies that he composed are a fitting example of popular dance music of the time.This transcription may be performed as a piano solo, with the piano as a non-solistic instrument within the ensemble or without piano at all. If it is to be a piano solo, the other instruments should not play the passages marked “opt. tacet (optional tacet). If the piano will not be treated soloistically, the conductor can have some or all of the “opt. tacet passages played at their discretion. When there is no piano involved in the performance ,all instrumentalists should ignore the “opt. tacet instruction and play everything.
$12.00
11.06 €
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Orchestre d'harmonie
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Francis Johnson
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Kenneth Amis
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A Collection of New Cotillions First Set - CONDUCTOR'S SCORE ONLY
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Amis Musical Circle - Digital
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SheetMusicPlus
Just The Way You Are
Chorale SAATB A Cappella
Choral SAATB a cappella - Advanced - Digital Download By Billy Joel. Arranged by Yumi…
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Choral SAATB a cappella - Advanced - Digital Download By Billy Joel. Arranged by Yumiko Matsuoka. Score. 10 pages. Published by Yumiko Matsuoka
Originallywritten for a Japanese a cappella ensemble, the Billy Joel classic starts offwith in 12/8, using pyramid and cascade voicings to build the chords and keepthe momentum going. Alto gets the solo, but if it gets to be a bit low it couldbe shared by a tenor. The sweet, yearning sentiment is captured in the richharmony and seamless flow. Approx. performance time 3:50.<br> <br> For more information about Yumiko, please visit https://ymymusic.comOriginallywritten for a Japanese a cappella ensemble, the Billy Joel classic starts offwith in 12/8, using pyramid and cascade voicings to build the chords and keepthe momentum going. Alto gets the solo, but if it gets to be a bit low it couldbe shared by a tenor. The sweet, yearning sentiment is captured in the richharmony and seamless flow. Approx. performance time 3:50.<br> <br> For more information about Yumiko, please visit https://ymymusic.com
$3.50
3.23 €
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Chorale SAATB A Cappella
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Billy Joel
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Yumiko Matsuoka
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Just The Way You Are
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Yumiko Matsuoka
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SheetMusicPlus
Sorry Not Sorry (SSAB a cappella)
Chorale SSAB a cappella
SAB, SSAB - Easy/Beginner - Digital Download By Demi Lovato. Arranged by Brandy Kay R…
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SAB, SSAB - Easy/Beginner - Digital Download By Demi Lovato. Arranged by Brandy Kay Riha. Sheet Music Single. 8 pages. Published by Brandy Kay Riha
Great arrangement for beginners! Features a small solo at the beginning. Feel free to adapt the arrangement in any way to accommodate the needs and strengths of your group.<br> <br> With a Master of Music in Choral Conducting and a Bachelor of Arts in Music Theory & Performance, Brandy Kay Riha is an a cappella educator, vocal coach, and arranger with a special interest in building treble repertoire. Her innovative yet accessible arrangements have been performed by middle school, high school, and collegiate singers around the world.Great arrangement for beginners! Features a small solo at the beginning. Feel free to adapt the arrangement in any way to accommodate the needs and strengths of your group.<br> <br> With a Master of Music in Choral Conducting and a Bachelor of Arts in Music Theory & Performance, Brandy Kay Riha is an a cappella educator, vocal coach, and arranger with a special interest in building treble repertoire. Her innovative yet accessible arrangements have been performed by middle school, high school, and collegiate singers around the world.
$2.99
2.76 €
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Chorale SSAB a cappella
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Demi Lovato
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Brandy Kay Riha
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Sorry Not Sorry
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Brandy Kay Riha
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SheetMusicPlus
Jar Of Hearts (SSAB a cappella)
Chorale SSAB a cappella
SSAB - Easy/Beginner - Digital Download By Christina Perri. Arranged by Brandy Kay Ri…
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SSAB - Easy/Beginner - Digital Download By Christina Perri. Arranged by Brandy Kay Riha. Sheet Music Single. 8 pages. Published by Brandy Kay Riha
Great arrangement for beginners! Split up the solo however you like. Feel free to adapt the arrangement in any way to accommodate the needs and strengths of your group.<br> <br> With a Master of Music in Choral Conducting and a Bachelor of Arts in Music Theory & Performance, Brandy Kay Riha is an a cappella educator, vocal coach, and arranger with a special interest in building treble repertoire. Her innovative yet accessible arrangements have been performed by middle school, high school, and collegiate singers around the world.Great arrangement for beginners! Split up the solo however you like. Feel free to adapt the arrangement in any way to accommodate the needs and strengths of your group.<br> <br> With a Master of Music in Choral Conducting and a Bachelor of Arts in Music Theory & Performance, Brandy Kay Riha is an a cappella educator, vocal coach, and arranger with a special interest in building treble repertoire. Her innovative yet accessible arrangements have been performed by middle school, high school, and collegiate singers around the world.
$4.00
3.69 €
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Chorale SSAB a cappella
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Christina Perri
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Jar Of Hearts
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Brandy Kay Riha
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SheetMusicPlus
Create in Me a Clean Heart
Chorale SATB
SATB choir - Easy SKU: LO.10-1089 Composed by Douglas E. Wagner. Choral. Sacred Ant…
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SATB choir - Easy SKU: LO.10-1089 Composed by Douglas E. Wagner. Choral. Sacred Anthem. Octavo. Sacred Music Press #10/1089. Published by Sacred Music Press (LO.10-1089). UPC: 000308021615.Familiar words from Psalm 51 convey a penitential theme in this lyrical work. The memorable choral parts are supported by a gentle organ accompaniment.
Song List: Create In Me A Clean Heart
Song List
: Create In Me A Clean Heart
$2.75
2.54 €
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Chorale SATB
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Douglas E
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Create in Me a Clean Heart
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Sacred Music Press
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SheetMusicPlus
A Schisserl und a Reinderl
Chorale SSAB a cappella
School choir, mixed choir (SSAB) - Digital Download SKU: S9.Q577470 Arranged by Fra…
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School choir, mixed choir (SSAB) - Digital Download SKU: S9.Q577470 Arranged by Franz-Josef Hauser. Downloadable. Schott Music - Digital #Q577470. Published by Schott Music - Digital (S9.Q577470).
$2.99
2.76 €
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Chorale SSAB a cappella
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Franz-Josef Hauser
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A Schisserl und a Reinderl
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Schott Music - Digital
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SheetMusicPlus
Touched by a Child
Chorale SATB
SATB choir (With Optional Full Orchestra) - Digital Download SKU: LX.10-2541M Compo…
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SATB choir (With Optional Full Orchestra) - Digital Download SKU: LX.10-2541M Composed by John Purifoy. Sacred Anthem, Christmas. Octavo. 12 pages. Monarch Music #e10/2541M. Published by Monarch Music (LX.10-2541M). UPC: 000308055153.A marvelous reflection on the far-reaching effect the Babe of Bethlehem had-and has- on all people of the earth.
Song List: Angels' Song I Was Touched and I Believe Light Of The World O Come All Ye Faithful Rejoice Rejoice All People Run Shepherds Run The Truth and the Light Touched By A Child Touched by a King
Song List
: Angels' Song I Was Touched and I Believe Light Of The World O Come All Ye Faithful Rejoice Rejoice All People Run Shepherds Run The Truth and the Light Touched By A Child Touched by a King
$2.50
2.3 €
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Chorale SATB
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John Purifoy
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Touched by a Child
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Monarch Music
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SheetMusicPlus
Poem I
Chorale SAATB A Cappella
Mixed choir (SAATTB) a cappella - Digital Download Composed by Xingzimin Pan. This ed…
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Mixed choir (SAATTB) a cappella - Digital Download Composed by Xingzimin Pan. This edition: choral score. Distinguished Choral Music. Downloadable. Schott Music - Digital #Q40406. Published by Schott Music - Digital
Chinese.<br> <br> 'Particularly suitable for youth choir'. This distinction was given by the jury of the International Competition for Choral Composition 2013 to Pan Xingzimin's 'Poem I'. The text of this secular choral work for six-part mixed a-cappella choir (SSAATTB) was written by the composer himself in his native language, this being one of the special charms of this choral piece. Below the Chinese characters are transliterations which take the insecurity about the pronunciation from the European singers, as do long passages on simple syllables like 'hmm', 'ah' or 'dong'. The unfamiliar foreign language, easy-to-grasp sequences of notes and meticulously graded dynamics make this work an effective challenge which can nevertheless be mastered even by youth choirs.Chinese.<br> <br> 'Particularly suitable for youth choir'. This distinction was given by the jury of the International Competition for Choral Composition 2013 to Pan Xingzimin's 'Poem I'. The text of this secular choral work for six-part mixed a-cappella choir (SSAATTB) was written by the composer himself in his native language, this being one of the special charms of this choral piece. Below the Chinese characters are transliterations which take the insecurity about the pronunciation from the European singers, as do long passages on simple syllables like 'hmm', 'ah' or 'dong'. The unfamiliar foreign language, easy-to-grasp sequences of notes and meticulously graded dynamics make this work an effective challenge which can nevertheless be mastered even by youth choirs.
$4.99
4.6 €
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Chorale SAATB A Cappella
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Xingzimin Pan
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Poem I
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Schott Music - Digital
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SheetMusicPlus
A Cappella Overtures
Chorale
Arranged by Andy Beck. For Choral. Secular Choral. 14 pages. Published by Alfred Music - D…
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Arranged by Andy Beck. For Choral. Secular Choral. 14 pages. Published by Alfred Music - Digital Sheet Music
$2.95
2.72 €
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Chorale
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Andy Beck
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A Cappella Overtures
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Contemporary Anthology of Solo Guitar Music
Guitare
Guitar (classical) - Intermediate-Advanced - Digital Download For Five Fingers of the…
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Guitar (classical) - Intermediate-Advanced - Digital Download For Five Fingers of the Right Hand. Composed by Charles Postlewate. Contemporary. Classic. E-book. 158 pages. Mel Bay Publications - Digital Sheet Music #21290EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609746599.<br> <br> This is the first compilation of guitar music specifically composed for right-hand technique that includes the little finger. The 57 compositions include original pieces in the Easy-Intermediate to Intermediate -Advanced levels by renowned guitarist/composers from Europe, North America, South America and the Caribbean. Music by Ernesto Cordero, Carlos Dorado, Jim Ferguson, David Flynn, Gerald Garcia, John Hall, Ricardo Iznaola, James Lentini, John Oliver, Charles Postlewate, Mirko Schrader, Burkhard Buck Wolters and Luis Zea show the advantages of a five-finger technique in the playing of scales, chords, arpeggios, tremolos and harmonics. They also show the advantages of using the little finger for speed, accuracy, strength and balance. All of these compositions are edited and fingered by Postlewate, pioneer in the use of a five-finger technique. This book is a companion to Anthology of Nineteenth Century Guitar Studies for Five Fingers of the Right Hand (MB21153), compiled and fingered by Leonhard Beck and edited by Charles Postlewate. Standard notation only. In English and Spanish.ISBN 9781609746599.<br> <br> This is the first compilation of guitar music specifically composed for right-hand technique that includes the little finger. The 57 compositions include original pieces in the Easy-Intermediate to Intermediate -Advanced levels by renowned guitarist/composers from Europe, North America, South America and the Caribbean. Music by Ernesto Cordero, Carlos Dorado, Jim Ferguson, David Flynn, Gerald Garcia, John Hall, Ricardo Iznaola, James Lentini, John Oliver, Charles Postlewate, Mirko Schrader, Burkhard Buck Wolters and Luis Zea show the advantages of a five-finger technique in the playing of scales, chords, arpeggios, tremolos and harmonics. They also show the advantages of using the little finger for speed, accuracy, strength and balance. All of these compositions are edited and fingered by Postlewate, pioneer in the use of a five-finger technique. This book is a companion to Anthology of Nineteenth Century Guitar Studies for Five Fingers of the Right Hand (MB21153), compiled and fingered by Leonhard Beck and edited by Charles Postlewate. Standard notation only. In English and Spanish.
$22.99
21.19 €
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Guitare
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Charles Postlewate
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Contemporary Anthology of Solo Guitar Music
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Music, Sing On!
Chorale SATB
SATB choir and Piano with optional Orchestra and Children's Choir (With Optiona…
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SATB choir and Piano with optional Orchestra and Children's Choir (With Optional Orchestra, Children's Choir) - Digital Download Composed by Cynthia Gray. Educational, Concert, Festival. Octavo. 12 pages. Heritage Music Press #15/3087H. Published by Heritage Music Press
ISBN 9781429139526. Orchestrated by Mark T Barnard.<br> <br> Especially effective with combined choirs, this piece celebrates music in a unique way, starting with the silence of the earth before music. The optional orchestration is designed with versatility in mind, as the full instrumentation is not required to be effective.ISBN 9781429139526. Orchestrated by Mark T Barnard.<br> <br> Especially effective with combined choirs, this piece celebrates music in a unique way, starting with the silence of the earth before music. The optional orchestration is designed with versatility in mind, as the full instrumentation is not required to be effective.
$2.50
2.3 €
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Chorale SATB
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Cynthia Gray
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Music, Sing On!
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Heritage Music Press
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SheetMusicPlus
A Million Dreams
2 Violons, Piano
By Pink, The Greatest Showman. Arranged by Susie Winkworth winkmusic.co.uk. Score, S…
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By Pink, The Greatest Showman. Arranged by Susie Winkworth winkmusic.co.uk. Score, Set of Parts. 6 pages. Published by winkmusic.co.uk
A Million Dreams, a track from the hit musical film The Greatest Showman, arranged for easy violin duo and easy piano. Straightforward to play and put together, but satisfyingly close to the original track in performance, this is a perfect start to playing chamber music in a fun way.<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.A Million Dreams, a track from the hit musical film The Greatest Showman, arranged for easy violin duo and easy piano. Straightforward to play and put together, but satisfyingly close to the original track in performance, this is a perfect start to playing chamber music in a fun way.<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.
$14.00
12.91 €
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2 Violons, Piano
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Pink, The Greatest Showman
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Susie Winkworth winkmusic
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A Million Dreams
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winkmusic.co.uk
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SheetMusicPlus
A Million Dreams
Piano Trio: piano, violon, violoncelle
Easy Piano, Violin, Cello, Piano Trio - Easy/Beginner - Digital Download By Pink, The…
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Easy Piano, Violin, Cello, Piano Trio - Easy/Beginner - Digital Download By Pink, The Greatest Showman. Arranged by Susie Winkworth winkmusic.co.uk. Score, Set of Parts. 9 pages. Published by winkmusic.co.uk
A Million Dreams, a track from the hit musical film The Greatest Showman, arranged for easy piano trio (violin, cello & piano). Straightforward to play and put together, but satisfyingly close to the original track in performance, this is perfect for students trying out chamber music in a fun way.<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.A Million Dreams, a track from the hit musical film The Greatest Showman, arranged for easy piano trio (violin, cello & piano). Straightforward to play and put together, but satisfyingly close to the original track in performance, this is perfect for students trying out chamber music in a fun way.<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.
$14.00
12.91 €
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Piano Trio: piano, violon, violoncelle
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Pink, The Greatest Showman
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Susie Winkworth winkmusic
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A Million Dreams
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winkmusic.co.uk
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SheetMusicPlus
Jazz Course for All Instruments 5 Simple Strategies for Developing Jazz Language and Fluency
Formation musicale - Solfège
Jazz. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #30890EB. Publish…
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Jazz. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #30890EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459295. 8.75x11.75 inches.<br> <br> According to musician and musicologist Gunther Schuller, 75% of all harmonic movement in jazz consists of ii-V-I progressions. Consequently, for the jazz improvisor, it is extremely important to be capable of playing a coherent phrase based on any member note of the ii chord and its extensions, in any key. In this book, music educator and world-renowned jazz saxophonist, Lukas Gabric focuses on helping you develop this essential skill. The five strategies outlined in Jazz Course for All Instruments are specifically designed to enhance your vocabulary and fluency as a jazz improviser. In a key segment, Gabric explains how longer phrases can be generated by combining minimal source materials. He also seeks to further your transposition and memorization skills as well as instrumental techniqueall of which are required for effective improvisation. For those familiar with other styles of music, this reasoned, incremental approach could well open the door to the exciting world of improvised jazz.ISBN 9781513459295. 8.75x11.75 inches.<br> <br> According to musician and musicologist Gunther Schuller, 75% of all harmonic movement in jazz consists of ii-V-I progressions. Consequently, for the jazz improvisor, it is extremely important to be capable of playing a coherent phrase based on any member note of the ii chord and its extensions, in any key. In this book, music educator and world-renowned jazz saxophonist, Lukas Gabric focuses on helping you develop this essential skill. The five strategies outlined in Jazz Course for All Instruments are specifically designed to enhance your vocabulary and fluency as a jazz improviser. In a key segment, Gabric explains how longer phrases can be generated by combining minimal source materials. He also seeks to further your transposition and memorization skills as well as instrumental techniqueall of which are required for effective improvisation. For those familiar with other styles of music, this reasoned, incremental approach could well open the door to the exciting world of improvised jazz.
$9.99
9.21 €
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Formation musicale - Solfège
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Jazz Course for All Instruments 5 Simple Strategies for Developing Jazz Language and Fluency
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Die Walkure
Piano, Voix
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q25919. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages(German, English, French).<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> <br> DIE WALKURE<br> <br> In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.<br> <br> The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.<br> <br> (Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages(German, English, French).<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> <br> DIE WALKURE<br> <br> In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.<br> <br> The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.<br> <br> (Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)
$53.99
49.77 €
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Piano, Voix
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Richard Wagner (1813-1883)
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Die Walkure
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Schott Music - Digital
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SheetMusicPlus
Thank You For The Music
Piano seul
Piano - Level 2 - Digital Download SKU: A0.1140477 By ABBA. By Benny Andersson and …
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Piano - Level 2 - Digital Download SKU: A0.1140477 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Unimusic Academy (Academia Unimusica). Contemporary,Pop,Rock,Singer/Songwriter. Score (Chords/Lyrics). 8 pages. Unimusic Academy (Academia Unimusica) #740673. Published by Unimusic Academy (Academia Unimusica) (A0.1140477). Thank You for the Music is a song by the Swedish pop group ABBA. It was originally featured on the group's fifth studio album, The Album (1977), and was released as a double-A sided single with Eagle in May 1978 in limited territories, namely Belgium, the Netherlands, Germany, France, Austria, Switzerland and Australia. In South Africa where it peaked at number 2 in August 1978 and became the eighteenth best-selling single of that year. Gracias por la Música is the Spanish-language recording of Thank You for the Music, with lyrics by Buddy and Mary McCluskey. The B-side was the Spanish-language version of Gimme! Gimme! Gimme! (A Man After Midnight) entitled ¡Dame! ¡Dame! ¡Dame!. The song was released in 1980 to promote the band's Spanish-language album/compilation Gracias Por La Música. It was the group's seventh best-selling Spanish single, and also peaked at number 4 in Argentina.
$8.00
7.38 €
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Piano seul
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ABBA
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Thank You For The Music
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Unimusic Academy
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SheetMusicPlus
Musical Flowers
Flute (clarinet in Bb) and piano - easy to intermediate - Digital Download SKU: S9.Q702…
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Flute (clarinet in Bb) and piano - easy to intermediate - Digital Download SKU: S9.Q7021 14 Pieces for Flute or clarinet and Piano. Composed by Barbara Heller. This edition: Sheet music. Il Flauto traverso. Downloadable. Duration 36 minutes. Schott Music - Digital #Q7021. Published by Schott Music - Digital (S9.Q7021). The edition 'Klangblumen' by Barbara Heller (originally for piano, ED 20374) is now available for flute too. Each of the 14 pieces has a particular focus, such as a certain interval, a special playing technique, a characteristic rhythm or a continuous timbre. The pieces are musically demanding, yet can be technically mastered quite easily. The composer has made a point of allowing enough room for the player to incorporate their own musical interpretations. A collection for lessons and concerts.
$19.99
18.43 €
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Barbara Heller
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Musical Flowers
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Schott Music - Digital
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SheetMusicPlus
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.891956 Composed by A.E.Williams. …
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Concert Band - Level 4 - Digital Download SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen Davies #6094485. Published by Stephen Davies (A0.891956).   CLARINET CONCERT CONCERTINO FOR WIND BAND I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you! It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bandsin London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions. The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s. When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time! But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames! The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now. About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere. As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members. Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc. Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores. After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless. It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar! I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams. Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it! Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!! This would be an ideal addition to the band repertoire for Clarinet!
$49.99
46.09 €
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Orchestre d'harmonie
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A
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Stephen Davies
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"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
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Stephen Davies
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SheetMusicPlus
A Breath of Life
Oboe, basson, violin, viola, double bass - Digital Download SKU: IZ.BCMW164 Compose…
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Oboe, basson, violin, viola, double bass - Digital Download SKU: IZ.BCMW164 Composed by Chun-Wai Wong. BCMCC (Bassoon Chamber Music Composition Competition). Score and Parts. 77 pages. Imagine Music - Digital #BCMW164. Published by Imagine Music - Digital (IZ.BCMW164). 9 x 12 in inches.What is life for? Wealth? Power? Happiness? Are you really feeling happy with your pursuits? Or would you just go ontirelessly? Do you really feel happy when chasing after those things?And what will you get by the end of your life?I have seen everything that is done under the sun, and behold, all is vanity and a striving after wind. (Ecclesiastes 1:14)The piece is inspired by the book of Ecclesiastes from the Bible. Musically, it is inspired by a traditional Japanese theatricalperformance Kabuki. It is purely musical theatre: the piece unfolds with the wheezing of hollowness of work and life, andit is followed by a wild dance of chase -- a chase after fame and fortune in hopes of getting rid of the depression. Yet, thestruggle only brings fleeting pleasure and pressing anxiety to chase after another goal. Feeling exhausted, one realizes thatwhat one has done are all meaningless: the hollowness never goes away. Only after a hoarse cry does one start to realize themeaning of life, a meaning that transcends all materialistic goals; and only after understanding the reason to live can one take abreath of life.There are references to traditional Japanese instrumental writings, including the sound of Shamisen imitated by pizzicato instrings, drum imitated by pizzicato chords and beating of strings on fingerboard, Japanese flute imitated by the high oboe. Theshifting focus between different musical layers represents the movement of the imaginary dancer who moves forward andbackward on the stage unceasingly.ABreath of Life was commissioned by the Hong Kong Composers' Guild.
$24.00
22.13 €
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Chun-Wai Wong
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A Breath of Life
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Imagine Music - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.12 €
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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
Passionate Piano Moments: Emotional Piano Music
2 Pianos, 4 mains
Composed by Tito Abeleda. 21st Century, Contemporary Classical, Neo-Classical, Recit…
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Composed by Tito Abeleda. 21st Century, Contemporary Classical, Neo-Classical, Recital. Individual Part, Score, Set of Parts. 156 pages. Published by Visionary Quest Records
Addnew life to your piano repertoire, piano recital, and next concert withPassionate Piano Moments, #1 new release in New Age Music on Amazon. Get the PDF digital download version here onSheet Music Plus. Perfect gift for the pianist in your life. On sale here until 12/31/2020. Listen to the music inPassionate Piano Moments on Spotify - https://bit.ly/PassionatePianoMoments_Spotify.<br> <br> PassionatePiano Moments is a 155-page collection of emotional, dramatic piano music forintermediate to advanced pianists. Passionate Piano Moments will add new lifeto your piano repertoire, recital, or next concert with its 10 impassionedpiano solos, 1 two piano duet, and 1 four piano quartet. The music was composedby Tito Abeleda. Each piece reflects the emotions he was feeling at the timeeach piece was written. Passionate Piano Moments includes 1) Drifting; 2) DyingBreath; 3) Missing You; 4) Beautiful Memories; 5) a new intimate yet cinematicarrangement of Silent Night, Holy Night; 6) Forever Touched by Your Love; 7)Running, Searching; 8) Phoenix Rising; 9) a new dramatic arrangement of O HolyNight; 10) Tempus Fugit; 11) Descensus ad Infero for two pianos including scoreplus parts; and 12) Procession in D Minor for four pianos also including scoreplus parts.<br> <br> Awardwinning Film/TV composer Rob Pottorf writes in the book's Foreword"...This book is truly one of a kind. It will inspire, as he takes you notonly through his collection of music, but into his own journey of creating.Mozart was the guy who said, ‘Neither a lofty degree of intelligence norimagination nor both together go to the making of genius. Love, love, love thatis the soul of genius.’ And so my friend Tito has made with love, thiscollection of music."<br> <br> CustomerReviews:<br> <br> "Purepiano, pure inspiration" D.B. Rose - Read full review - http://amzn.to/34xPHv0<br> <br> "Qualitypiano music" Audrey - Read full review - http://amzn.to/2KoEiXK<br> <br> "Destinedto be classics" Rene Gigon - Read full review - http://amzn.to/3nDPVs5<br> <br> "Exceptional"Jason Laureno - Read full review - http://amzn.to/3pcWwua<br> <br> "Fantastic!"Jason - Read full review - http://amzn.to/3rkBMSQ<br> <br> "Beautiful!"Healthy Mama - Read full review - http://amzn.to/3rhX8QT<br> <br> EditorialReview:<br> <br> "TitoAbeleda has an exciting new way to enjoy his music. The Fort Lauderdale,Florida-based musician and composer is releasing a new piano sheet music booktitled Passionate Piano Moments, a collection of original musicas well as unique arrangements of holiday classics just in time for Christmas… PassionatePiano Moments is an incredible opportunity to better understand thecomplexities of Tito Abeleda’s compositions. Intermediate and advanced pianistscan benefit greatly from playing these stunning songs as they are demystifiedfrom soundwaves to notes on a page. This publication contains only masterpiecesthat will be an exciting addition to the modern pianist’s repertoire.” Katrina Charles, Jukebox Mind Magazine. Read full review - https://bit.ly/PassionatePianoMoments_JukeboxmindReview<br> <br> About SMP Press<br> <br> This product was created by a member of SMP Press, our global community of independent composers, arrangers, and songwriters. Our independent musicians have created unique compositions and arrangements for the Sheet Music Plus community, many of which are not available anywhere else.<br> <br> Click here to see more titles from these independent creators and to learn more about SMP Press.<br> <br> Please note this product may not be eligible for all sales, promotions or coupons offered through Sheet Music Plus - please check promotional details for specifics.Addnew life to your piano repertoire, piano recital, and next concert withPassionate Piano Moments, #1 new release in New Age Music on Amazon. Get the PDF digital download version here onSheet Music Plus. Perfect gift for the pianist in your life. On sale here until 12/31/2020. Listen to the music inPassionate Piano Moments on Spotify - https://bit.ly/PassionatePianoMoments_Spotify.<br> <br> PassionatePiano Moments is a 155-page collection of emotional, dramatic piano music forintermediate to advanced pianists. Passionate Piano Moments will add new lifeto your piano repertoire, recital, or next concert with its 10 impassionedpiano solos, 1 two piano duet, and 1 four piano quartet. The music was composedby Tito Abeleda. Each piece reflects the emotions he was feeling at the timeeach piece was written. Passionate Piano Moments includes 1) Drifting; 2) DyingBreath; 3) Missing You; 4) Beautiful Memories; 5) a new intimate yet cinematicarrangement of Silent Night, Holy Night; 6) Forever Touched by Your Love; 7)Running, Searching; 8) Phoenix Rising; 9) a new dramatic arrangement of O HolyNight; 10) Tempus Fugit; 11) Descensus ad Infero for two pianos including scoreplus parts; and 12) Procession in D Minor for four pianos also including scoreplus parts.<br> <br> Awardwinning Film/TV composer Rob Pottorf writes in the book's Foreword"...This book is truly one of a kind. It will inspire, as he takes you notonly through his collection of music, but into his own journey of creating.Mozart was the guy who said, ‘Neither a lofty degree of intelligence norimagination nor both together go to the making of genius. Love, love, love thatis the soul of genius.’ And so my friend Tito has made with love, thiscollection of music."<br> <br> CustomerReviews:<br> <br> "Purepiano, pure inspiration" D.B. Rose - Read full review - http://amzn.to/34xPHv0<br> <br> "Qualitypiano music" Audrey - Read full review - http://amzn.to/2KoEiXK<br> <br> "Destinedto be classics" Rene Gigon - Read full review - http://amzn.to/3nDPVs5<br> <br> "Exceptional"Jason Laureno - Read full review - http://amzn.to/3pcWwua<br> <br> "Fantastic!"Jason - Read full review - http://amzn.to/3rkBMSQ<br> <br> "Beautiful!"Healthy Mama - Read full review - http://amzn.to/3rhX8QT<br> <br> EditorialReview:<br> <br> "TitoAbeleda has an exciting new way to enjoy his music. The Fort Lauderdale,Florida-based musician and composer is releasing a new piano sheet music booktitled Passionate Piano Moments, a collection of original musicas well as unique arrangements of holiday classics just in time for Christmas… PassionatePiano Moments is an incredible opportunity to better understand thecomplexities of Tito Abeleda’s compositions. Intermediate and advanced pianistscan benefit greatly from playing these stunning songs as they are demystifiedfrom soundwaves to notes on a page. This publication contains only masterpiecesthat will be an exciting addition to the modern pianist’s repertoire.” Katrina Charles, Jukebox Mind Magazine. Read full review - https://bit.ly/PassionatePianoMoments_JukeboxmindReview<br> <br> About SMP Press<br> <br> This product was created by a member of SMP Press, our global community of independent composers, arrangers, and songwriters. Our independent musicians have created unique compositions and arrangements for the Sheet Music Plus community, many of which are not available anywhere else.<br> <br> Click here to see more titles from these independent creators and to learn more about SMP Press.<br> <br> Please note this product may not be eligible for all sales, promotions or coupons offered through Sheet Music Plus - please check promotional details for specifics.
$12.95
11.94 €
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2 Pianos, 4 mains
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Tito Abeleda
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Passionate Piano Moments: Emotional Piano Music
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Visionary Quest Records
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SheetMusicPlus
La Musica (The Music)
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0002208 La Musica (The Music) - SATB…
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Chorus - Digital Download SKU: AX.00-PO-0002208 La Musica (The Music) - SATB. Composed by Jay Althouse. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0002208. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002208). UPC: 038081212142.With all the scintillating energy of Cuba in the 1960's, La MAosica is a hot, hot, hot number from contemporary composer Jay Althouse. Built upon a hypnotic rhythmic pulse, smooth Latin harmonies, and a haunting melody, this cross-cultural number combines English text with a few Spanish phrases to remind us that music is a world we share. If you liked Jay's A!Cantar! and Oye la MAosica, you don't want to miss this exciting sequel. Perform with the authentic sounding SoundTrax or create your own Latin combo with the optional SoundPax. Featured on On with the Show! video, #21799.Inst. Parts Available (choral); Recorded Acc. Available; Spanish Publications.
$2.25
2.07 €
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Chorale SATB
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Jay Althouse
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Recorded Acc. Available
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La Musica
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
La Musica (The Music)
Chorale 2 parties
Chorus - Digital Download SKU: AX.00-PO-0002903 La Musica (The Music) - 2-Part
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Chorus - Digital Download SKU: AX.00-PO-0002903 La Musica (The Music) - 2-Part. Composed by Jay Althouse. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0002903. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002903). UPC: 038081212166.With all the scintillating energy of Cuba in the 1960's, La MAosica is a hot, hot, hot number from contemporary composer Jay Althouse. Built upon a hypnotic rhythmic pulse, smooth Latin harmonies, and a haunting melody, this cross-cultural number combines English text with a few Spanish phrases to remind us that music is a world we share. If you liked Jay's A!Cantar! and Oye la MAosica, you don't want to miss this exciting sequel. Perform with the authentic sounding SoundTrax or create your own Latin combo with the optional SoundPax. Featured on On with the Show! video, #21799.Inst. Parts Available (choral); Recorded Acc. Available; Spanish Publications.
$2.25
2.07 €
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Chorale 2 parties
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Jay Althouse
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Recorded Acc. Available
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La Musica
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
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