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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 for Organ
Sheetmusicplus
Non classifié
4 799
Piano & claviers
Orgue
7 270
Piano grosses notes
3 295
Piano seul
585
Piano, Voix et Guitare
451
Piano, Voix
306
Piano Facile
206
Orgue, Trompette (duo)
162
Orgue, Piano (duo)
82
Clavier
62
Instruments en Do
42
2 Pianos, 4 mains
27
Accompagnement Piano
20
Piano Trio: piano, violon, violoncelle
16
Piano Quatuor: piano, violon, alto, violoncelle
13
1 Piano, 4 mains
12
Orgue, Voix
12
Fake Book
6
2 Orgues (duo)
5
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Piano Quatuor: piano, 2 violons, violoncelle
4
Piano (partie séparée)
2
Clavecin
2
2 Pianos, 8 mains
1
Accordéon
1
Orgue et Orchestre
1
+ 20 instrumentations
Retracter
Guitares
Guitare notes et tablatures
49
Guitare
46
Ukulele
23
Ukulele Baryton
17
Ligne De Mélodie, (Paroles) et Accords
15
Mandoline
11
2 Guitares (duo)
10
4 Guitares (Quatuor)
9
Piano, Guitare (duo)
8
Banjo
5
Basse electrique
5
Guitare (partie séparée)
4
3 Guitares (trio)
3
Dulcimer
1
Orchestre à Plectres
1
Guitare, Violon, Violoncelle (trio)
1
+ 11 instrumentations
Retracter
Voix
Chorale SATB
2 182
Chorale 2 parties
441
Chorale 3 parties
255
Chorale Unison
209
Voix duo, Piano
100
Chorale TTBB
79
Voix duo
68
Chorale SSAA
37
Chorale, Orgue
37
Voix moyenne, Piano
26
Voix haute
16
Chorale
13
Voix Soprano, Piano
12
Soli, choeur mixte et accompagnement
12
Chorale SSATB
12
Chorale SSAATTBB
9
Voix basse, Piano
7
Voix seule
6
Voix Alto, Piano
5
Chorale SSATTB
4
Voix duo, Orgue
4
Voix Baryton, Piano
3
Voix Tenor
3
Voix Tenor, Piano
3
Chorale SATBB
1
Voix Soprano
1
+ 21 instrumentations
Retracter
Vents
Flûte traversière et Piano
114
Clarinette et Piano
102
Quatuor de Saxophones: 4 saxophones
93
Flûte, Hautbois, Clarinette, Basson
92
Saxophone Alto et Piano
84
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
81
2 Saxophones (duo)
68
Hautbois, Piano (duo)
64
Quatuor de Clarinettes: 4 clarinettes
63
Saxophone Tenor et Piano
52
Quintette de Saxophone: 5 saxophones
52
Flûte traversière
47
Saxophone et Orgue
46
Clarinette
44
Saxophone Soprano et Piano
44
Saxophone (partie séparée)
41
Ensemble de Clarinettes
34
Piccolo
31
2 Clarinettes (duo)
31
Saxophone Tenor
30
Flûte traversière, Orgue (duo)
28
Flûte, Clarinette (duo)
28
3 Saxophones (trio)
27
Saxophone Alto
26
2 Flûtes traversières (duo)
25
Saxophone Baryton, Piano
22
3 Clarinettes (trio)
21
Ocarina
16
Cor anglais, Piano
16
Hautbois (partie séparée)
16
Quatuor de Flûtes : 4 flûtes
15
Ensemble de saxophones
13
Flûte à bec Soprano
13
Quintette de Clarinettes: 5 clarinettes
13
Clarinette, Orgue
12
Quintette de Flûte : 5 flûtes
11
Ensemble de Flûtes
11
Flûte à bec Alto
11
Harmonica
10
Clarinette Basse, Piano
9
Saxophone, Clarinette (duo)
8
Quatuor de Flûtes à bec
8
2 Flûte à bec (duo)
8
Trio de Flûtes: 3 flûtes
7
Clarinette, Guitare (duo)
6
Flûte, Violon
6
Flûte, Hautbois, Clarinette (trio)
5
Clarinette, Violon (duo)
5
Hautbois, Orgue
5
Hautbois, Basson (duo)
5
Cor Anglais
4
Clarinette, Violoncelle (duo)
4
Clarinette (partie séparée)
4
Flûte, Violoncelle
4
Saxophone et Harpe
4
Clarinette, Trompette (duo)
4
Saxophone Soprano
4
2 Hautbois (duo)
4
Flûte et Guitare
4
Flûte, Saxophone (duo)
4
Clarinette, Basson (duo)
3
3 Flûtes à bec (trio)
3
2 Clarinettes, Piano
3
Hautbois, Flûte
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Clarinette, Harpe (duo)
3
Flûte, Hautbois, Basson
3
Hautbois, Harpe
3
Flute (partie séparée)
3
Flûte à bec Soprano, Piano
2
Flûte à bec Tenor
2
Clarinette et Alto
2
Flûte, Violon, Piano
2
Flûte, Alto (duo)
2
Cor anglais et Harpe (duo)
1
Flûte à bec Alto, Piano
1
2 Cors Anglais Et Pianoforte
1
Hautbois
1
Flûte irlandaise
1
Flûte, Violoncelle, Piano (trio)
1
Flûte, Trompette (duo)
1
Clarinette Basse
1
Hautbois, Clarinette (duo)
1
Flute, harpe et violon
1
2 Clarinettes, Basson
1
Flûte à bec, Guitare (duo)
1
Hautbois, Violoncelle
1
Ensemble de Hautbois
1
Flûte, Clarinette, Violon (trio)
1
2 Saxophones, Piano
1
Piccolo, Piano
1
Clarinette, Orchestre
1
+ 87 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
142
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
139
2 Trompettes, Clavier (piano ou orgue)
93
Trompette, Piano
80
Trombone et Piano
62
Trompette
55
Tuba et Orgue
50
Cor et Piano
44
Trombone, Orgue
41
Quatuor de Cuivres: 2 trompettes, Cor, trombone
36
Trombone
32
2 Trompettes (duo)
26
2 Trombones (duo)
25
Trompette, Cor (duo)
22
Ensemble de Trombones
20
Euphonium, Piano (duo)
19
Cor
19
Tuba
18
Cor anglais, Piano
16
Tuba et Piano
16
Cor et Orgue
15
Trompette (partie séparée)
13
2 Cors (duo)
13
Trombone (partie séparée)
12
Ensemble de Trompettes
12
3 Trombones (trio)
10
Quatuor de cuivres: 4 trombones
9
Trompette, Trombone (duo)
9
Quatuor de Cuivres
8
Quatuor de cuivres: 2 trompettes, 2 trombones
7
Quatuor de cuivres: 4 cors
7
Trompette, Saxophone (duo)
5
3 Trompettes (trio)
5
Cor Anglais
4
2 Tubas (duo)
4
Quatuor de cuivres: 4 trompettes
3
2 Euphoniums (duo)
3
Cor et Harpe
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Cor (partie séparée)
3
Trombone, Tuba (duo)
3
Trio de Cuivres
2
Trompette, Harpe
2
2 Euphoniums et 2 Tubas
2
Cor anglais et Harpe (duo)
1
2 Cors Anglais Et Pianoforte
1
Tuba (partie séparée)
1
Trombone, Cor (duo)
1
Clarinette, Cor (duo)
1
4 Tubas
1
Trombone basse et Piano
1
3 Tubas (trio)
1
3 Cors (trio)
1
Ensemble de Cors
1
+ 49 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
187
Violon et Piano
131
Violoncelle, Piano
92
Alto, Piano
79
Violon
65
Violon, Violoncelle (duo)
44
Violoncelle
42
Harpe
40
Trio à Cordes: violon, alto, violoncelle
39
Violoncelle, Orgue
32
Alto seul
28
Violon, Orgue
27
Violon, Alto (duo)
26
2 Violons (duo)
21
2 Violoncelles (duo)
20
Alto (partie séparée)
12
Contrebasse, Piano (duo)
10
2 Harpes (duo)
9
Ensemble d'Altos
9
Contre Basse
9
Alto, Orgue
8
Ensemble de Violons
8
Trio à Cordes: 2 violons, violoncelle
8
Piano Trio: Violon, Alto, Piano
8
Harpe et Orgue
7
Violon, Guitare (duo)
7
Harpe, Flûte (duo)
6
Violon (partie séparée)
6
Contrebasse (partie séparée)
6
Alto, Violoncelle (duo)
5
2 Altos (duo)
5
Alto, Guitare (duo)
5
Violoncelle , Guitare (duo)
4
Harpe, Trombone (duo)
4
Harpe, Violoncelle (duo)
4
4 Violoncelles
4
Violoncelle (partie séparée)
3
Harpe, Violon (duo)
3
Harpe (partie séparée)
3
Trio à Cordes: 3 violoncelles
3
2 Contrebasses (duo)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Harpe, Voix
2
Trio à cordes: 3 violins
2
Trio à cordes: 3 altos
2
Quatuor à cordes: 4 violons
2
Alto et Harpe
2
Violon, Clarinette, Piano (trio)
1
Violoncelle, Contrebasse (duo)
1
Quatuor à cordes : 4 altos
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Trio à Cordes: 2 violons, alto
1
+ 47 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
230
Cloches
220
Orchestre
122
Orchestre à Cordes
119
Ensemble de cuivres
116
Orchestre de chambre
72
Ensemble Jazz
40
Jazz combo
12
Batterie
6
Marimba et Orgue
5
Vibraphone
4
Fanfare
4
Ensemble de Percussions
3
Piano et Orchestre
2
Xylophone
2
Batterie (partie séparée)
2
Marimba
2
Big band
1
Timbales
1
Percussion (partie séparée)
1
+ 15 instrumentations
Retracter
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Instruments
ACCORDEON
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AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
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BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
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Vous avez sélectionné:
Music for Organ
SheetMusicPlus
Partitions à imprimer
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9976
Canto di forza
Orgue
Organ - advanced - Digital Download Per organo. Composed by Peteris Vasks (1946-). Th…
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Organ - advanced - Digital Download Per organo. Composed by Peteris Vasks (1946-). This edition: Sheet music. Downloadable. Duration 14 minutes. Schott Music - Digital #Q6906. Published by Schott Music - Digital
Peteris Vasks has written compositions for organ again and again, whether original works or arrangements of his own works for strings. He drew his ideal sound image and his inspiration from the famous organ of the Cathedral in Riga where the composer has been living for a long time. Like in almost all his compositions, the basic idea of 'Canto di forza' is the personal human examination of Creation: on the one hand the beauty of Nature, on the other hand the destruction of Nature by man.<br> Vasks' organ music does not provide any great difficulties but rather displays an impressive tonal variety of the most intimate, held back sounds to tremendous chordal eruptions.Peteris Vasks has written compositions for organ again and again, whether original works or arrangements of his own works for strings. He drew his ideal sound image and his inspiration from the famous organ of the Cathedral in Riga where the composer has been living for a long time. Like in almost all his compositions, the basic idea of 'Canto di forza' is the personal human examination of Creation: on the one hand the beauty of Nature, on the other hand the destruction of Nature by man.<br> Vasks' organ music does not provide any great difficulties but rather displays an impressive tonal variety of the most intimate, held back sounds to tremendous chordal eruptions.
$11.99
11.05 €
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Orgue
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Peteris Vasks
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Canto di forza
#
Schott Music - Digital
#
SheetMusicPlus
A Treasury of Christmas Music for Organ
Orgue
Organ: 3-staff - Intermediate SKU: LO.70-1486S Composed by Gilbert M. Martin. Sacre…
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Organ: 3-staff - Intermediate SKU: LO.70-1486S Composed by Gilbert M. Martin. Sacred, Advent, Christmas. Sacred Music Press #70/1486S. Published by Sacred Music Press (LO.70-1486S). UPC: 000308098938.The wondrous Christmas season has been an inspiration to many a talented organ composer, and this bright, sparkling collection is no exception. Familiar seasonal carols and hymns are contained in this collection and they're all gloriously dressed in holiday cheer!
Song List: In the bleak midwinter Dear Maker of the Starry Skies Let All Mortal Flesh Keep Silence We Three Kings Of Orient Are I Saw Three Ships Forest Green Fanfare on Hark the Herald Angels Sing Noel Adeste Fideles
Song List
: In the bleak midwinter Dear Maker of the Starry Skies Let All Mortal Flesh Keep Silence We Three Kings Of Orient Are I Saw Three Ships Forest Green Fanfare on Hark the Herald Angels Sing Noel Adeste Fideles
$25.00
23.05 €
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Orgue
#
Gilbert M
#
A Treasury of Christmas Music for Organ
#
Sacred Music Press
#
SheetMusicPlus
The Organist in Season: Autumn
Orgue
Organ: 3-staff - Intermediate SKU: LO.70-1491S Composed by Gilbert M. Martin. Sacre…
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Organ: 3-staff - Intermediate SKU: LO.70-1491S Composed by Gilbert M. Martin. Sacred, All Saints' Day, Evangelism, General, Holy Communion, Missions, Reformation, Thanksgiving. Sacred Music Press #70/1491S. Published by Sacred Music Press (LO.70-1491S). UPC: 000308102154.A part of a multi-volume series dedicated to providing music for those festivals and holy days not generally represented in other compilations, this Autumn edition offers glorious music leading up to the beginning of Advent: the celebrations of All Saints' Day, Reformation Sunday, Worldwide Communion, Sundays involving Missions or Evangelism, and of course, Thanksgiving. For assistance in planning, timings are provided along with indices organized alphabetically, by page number, and by the church year. We are confident that you will applaud the labor and love incorporated in this series, and so will your congregations!
Song List: Thee We Adore For All The Saints Let All Things Now Living Deck Yourself My Soul With Gladness Built on a Rock In Christ There Is No East Or West I Come with Joy Prelude on ST DUNSTAN'S We Praise You O God A Mighty Fortress Is Our God Psalm 149 Now Thank We All Our God
Song List
: Thee We Adore For All The Saints Let All Things Now Living Deck Yourself My Soul With Gladness Built on a Rock In Christ There Is No East Or West I Come with Joy Prelude on ST DUNSTAN'S We Praise You O God A Mighty Fortress Is Our God Psalm 149 Now Thank We All Our God
$33.00
30.42 €
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Orgue
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Gilbert M
#
The Organist in Season: Autumn
#
Sacred Music Press
#
SheetMusicPlus
Interludes for Organ
Orgue
Organ: 3-staff - Intermediate SKU: LO.70-1320S Short Improvisations in All Keys
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Organ: 3-staff - Intermediate SKU: LO.70-1320S Short Improvisations in All Keys. Composed by Dale Wood. Sacred. Sacred Music Press #70/1320S. Published by Sacred Music Press (LO.70-1320S). UPC: 000308048834.These little interludes are designed for moments in the worship service when the organist is obliged to play short improvisations, yet feels improvisationally challenged. Whether the need is to cover the sound of shuffling feet as latecomers are seated or simply to establish a contemplative ambience, organists will find many uses for these short interludes in all keys. While some organ registrations and dynamic levels are suggested, the organist is advised to select stops that best suit the immediate moment of use. The majority of interludes in the service call for Flute or string celestas and other soft stops. A few of these pieces also present possibilities for using fuller or brighter combinations. It is hoped that this collection will serve well when there is a sudden need for the organist to provide (as a colleague so apply puts it)ecclesiastical traveling music.
Song List: Interludes For Organ E Interludes For Organ F Interludes For Organ Gb (F#) Interludes For Organ G Interludes For Organ Ab (G#) Interludes For Organ A Interludes For Organ Bb Interludes For Organ B (Cb) Have Thine Own Way Lord (Eb) Sweet Hour Of Prayer (D) Pass Me Not O Gentle Savior (G) Softly And Tenderly Jesus Is Calling )Eb) Just As I Am Without One Plea (C) Spirit Of God Descend Upon My Heart (C) God Be With You Till We Meet Again (C) Interludes For Organ C Interludes For Organ Db (C#) Interludes For Organ D Interludes For Organ Eb
Song List
: Interludes For Organ E Interludes For Organ F Interludes For Organ Gb (F#) Interludes For Organ G Interludes For Organ Ab (G#) Interludes For Organ A Interludes For Organ Bb Interludes For Organ B (Cb) Have Thine Own Way Lord (Eb) Sweet Hour Of Prayer (D) Pass Me Not O Gentle Savior (G) Softly And Tenderly Jesus Is Calling )Eb) Just As I Am Without One Plea (C) Spirit Of God Descend Upon My Heart (C) God Be With You Till We Meet Again (C) Interludes For Organ C Interludes For Organ Db (C#) Interludes For Organ D Interludes For Organ Eb
$25.00
23.05 €
#
Orgue
#
Dale Wood
#
Interludes for Organ
#
Sacred Music Press
#
SheetMusicPlus
Musica seria
Orgue
Organ - difficult - Digital Download Per organo. Composed by Peteris Vasks (1946-). T…
(+)
Organ - difficult - Digital Download Per organo. Composed by Peteris Vasks (1946-). This edition: Sheet music. Downloadable. Duration 16 minutes. Schott Music - Digital #Q3032. Published by Schott Music - Digital
Peteris Vasks has written compositions for organ again and again, whether original works or arrangements of his own works for strings. He drew his ideal sound image and his inspiration from the famous organ of the Cathedral in Riga where the composer has been living for a long time. Like in almost all his compositions, the basic idea of 'Musica seria' is the personal human examination of Creation: on the one hand the beauty of Nature, on the other hand the destruction of Nature by man.<br> Vasks' organ music does not provide any great difficulties but rather displays an impressive tonal variety of the most intimate, held back sounds to tremendous chordal eruptions.Peteris Vasks has written compositions for organ again and again, whether original works or arrangements of his own works for strings. He drew his ideal sound image and his inspiration from the famous organ of the Cathedral in Riga where the composer has been living for a long time. Like in almost all his compositions, the basic idea of 'Musica seria' is the personal human examination of Creation: on the one hand the beauty of Nature, on the other hand the destruction of Nature by man.<br> Vasks' organ music does not provide any great difficulties but rather displays an impressive tonal variety of the most intimate, held back sounds to tremendous chordal eruptions.
$16.99
15.66 €
#
Orgue
#
Peteris Vasks
#
Musica seria
#
Schott Music - Digital
#
SheetMusicPlus
Ars Organi
Orgue
Organ - very easy to easy - Digital Download SKU: S9.Q46423 Complete theoretical…
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Organ - very easy to easy - Digital Download SKU: S9.Q46423 Complete theoretical and practical method for organ-playing in three parts. This edition: Sheet music. Das Standardwerk für den Orgelunterricht – jetzt in der Edition Schott lieferbar. Downloadable. Op. 1. Schott Music - Digital #Q46423. Published by Schott Music - Digital (S9.Q46423). German • English • French • Dutch • Spanish • Portuguese • Italian.Flor Peeters, born in Belgium in 1903, is one of the most important organists and organ composers of the 20th century. After completing his studies at the famous Lemmens Institute in Mechelen, he worked there as a teacher of organ and improvisation before becoming professor at and director of the Royal Flemish Conservatoire of Antwerp. Until his death in 1986, Peeters gave concerts all around the world, held numerous master classes and received several awards and prizes for his achievements as a composer, organist and teacher. In his successful three-volume educational work 'Ars Organi', Peeters combines theoretical knowledge and practical exercises on all aspects of organ playing, starting with basic information on the instrument, manual and pedal exercises, and two-part manual and pedal playing. While Vol. 2 contains exercises on three-part playing, Vol. 3 contains exercises on four and five-part playing as well as studies on demanding trio playing. Each learning stage is accompanied by pedal exercises and tips on articulation, touch, interpretation, registration and organ specifications - a valuable compendium for every organist.
$34.99
32.26 €
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Orgue
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Ars Organi
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Schott Music - Digital
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SheetMusicPlus
Ars Organi
Orgue
Organ - intermediate to advanced - Digital Download SKU: S9.Q52078 Complete theo…
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Organ - intermediate to advanced - Digital Download SKU: S9.Q52078 Complete theoretical and practical method for organ-playing in three parts. This edition: Sheet music. Downloadable. Op. 3. Schott Music - Digital #Q52078. Published by Schott Music - Digital (S9.Q52078). French • English • Dutch • German.Flor Peeters, born in Belgium in 1903, is one of the most important organists and organ composers of the 20th century. After completing his studies at the famous Lemmens Institute in Mechelen, he worked there as a teacher of organ and improvisation before becoming professor at and director of the Royal Flemish Conservatoire of Antwerp. Until his death in 1986, Peeters gave concerts all around the world, held numerous master classes and received several awards and prizes for his achievements as a composer, organist and teacher. In his successful three-volume educational work 'Ars Organi', Peeters combines theoretical knowledge and practical exercises on all aspects of organ playing, starting with basic information on the instrument, manual and pedal exercises and two-part manual and pedal playing. While Vol. 2 contains exercises on three-part playing, Vol. 3 contains exercises on four and five-part playing as well as studies on demanding trio playing. Each learning stage is accompanied by pedal exercises and tips on articulation, touch, interpretation, registration and organ specifications - a valuable compendium for every organist.
$35.99
33.18 €
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Orgue
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Ars Organi
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Schott Music - Digital
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SheetMusicPlus
Organ Method
Orgue
Organ - Digital Download SKU: S9.Q49648 This edition: Sheet music. Downloadable. Op…
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Organ - Digital Download SKU: S9.Q49648 This edition: Sheet music. Downloadable. Op. 1. Schott Music - Digital #Q49648. Published by Schott Music - Digital (S9.Q49648). German.This method of organ playing presupposes a certain technical skill on the piano. The pedal exercises at the beginning are fundamental and should be practiced in all keys with gradually increasing tempo. The structure of this method is based on the increasing polyphony: two-part pieces are followed by three-and multi-part pieces. Studying the strict structure of the polyphonic compositions, getting a feel of the liveliness of these parts, their coming, going and returning, all this, with the knowledge of harmonic form and architectonic values, provides the essential background for the correct interpretation of polyphonic music, especially of the fugue. The most important musical forms have been used to illustrate the various possibilities of registration and its relationship to style (colourful, solo and smooth playing).Progress within this method is made in a winding pattern, i.e. by falling frequently back on earlier aspects, through the juxtaposition of special stylistic and formal features, in order to consolidate them or add to variety. It is very important that the evolution of organ music from vocal music should be made clear to the student the very beginning, both musically and intellectually. He will be shown the technical evolution of organ music over the centuries and thus be prepared for a really artistic performance and interpretation of old and new works on his instrument, especially for the incomparable art of our great Johann Sebastian Bach.Wer nach dieser Schule das Orgelspiel erlernen will, muss schon eine gewisse technische Fertigkeit auf dem Klavier besitzen. Die Pedalübungen zu Anfang sind grundlegend. Sie sind in allen angegebenen Tonarten und in allmählich beschleunigtem Zeitmaß auszuführen.
$21.99
20.27 €
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Orgue
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Organ Method
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Schott Music - Digital
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SheetMusicPlus
Complete Organ Works
Orgue
Organ - intermediate - Digital Download Motet Intabulations. Composed by Heinrich Sch…
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Organ - intermediate - Digital Download Motet Intabulations. Composed by Heinrich Scheidemann (1595-1663). This edition: Sheet music. Masters of the North German School for Organ. Downloadable. Op. 4. Schott Music - Digital #Q47853. Published by Schott Music - Digital
The present volume of 12 Motet Intabulations complements the 3 volumes .already published .with organ music by Heinrich Scheidemann (around 1595-1663), so that the complete organ oeuvre of the organist from Hamburg is now available in a modern editorial standard. From 1611-1614 Scheidemann studied with Jan Pieterszoon Sweelinck in Amsterdam and from 1629 worked as an organist at St. Catherine's in Hamburg for about three and a half decades. He amalgamated the style of his teacher with North German tradition and is thus regarded as co-founder of the North German Organ School. For a long time, the skill to transfer vocal compositions into finger notation had been one of the main demands on a competently trained organist. At the beginning of the 17th century, however, the rather technical 'intabulation practice' faded into the background in favour of innovative forms of arrangement of the sacred cantus firmi. To Scheidemann belongs the credit for helping the genre tradition, which had unmistakably been in decline, to experience a late revival with his Motet Intabulations and for virtually erecting a glorious monument of excellent artistic quality to this type of composition &ndash. an important document in the history of organ music, and an interesting addition to the organ repertoire.The present volume of 12 Motet Intabulations complements the 3 volumes .already published .with organ music by Heinrich Scheidemann (around 1595-1663), so that the complete organ oeuvre of the organist from Hamburg is now available in a modern editorial standard. From 1611-1614 Scheidemann studied with Jan Pieterszoon Sweelinck in Amsterdam and from 1629 worked as an organist at St. Catherine's in Hamburg for about three and a half decades. He amalgamated the style of his teacher with North German tradition and is thus regarded as co-founder of the North German Organ School. For a long time, the skill to transfer vocal compositions into finger notation had been one of the main demands on a competently trained organist. At the beginning of the 17th century, however, the rather technical 'intabulation practice' faded into the background in favour of innovative forms of arrangement of the sacred cantus firmi. To Scheidemann belongs the credit for helping the genre tradition, which had unmistakably been in decline, to experience a late revival with his Motet Intabulations and for virtually erecting a glorious monument of excellent artistic quality to this type of composition &ndash. an important document in the history of organ music, and an interesting addition to the organ repertoire.
$28.99
26.73 €
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Complete Organ Works
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Schott Music - Digital
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SheetMusicPlus
Sacred Music for Organ - Autumn 2023 Compilation
Orgue
Instrumental Solo,Pipe Organ - Level 3 - Digital Download SKU: A0.1307618 By Richar…
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Instrumental Solo,Pipe Organ - Level 3 - Digital Download SKU: A0.1307618 By Richard deCosta. By Richard deCosta. Arranged by Richard deCosta. Christian,Christmas,Classical,Religious,Romantic Period. Individual part. 71 pages. Richard deCosta #896879. Published by Richard deCosta (A0.1307618). CONTENTS:5 Highly Energetic, Toccata-like scores6 Christmas scores9 New, Original scores12 Reflective, Slow scores16 Creative Hymn ArrangementsThis compilation showcases an expansive range of pipe organ  compositions, each designed to captivate both the performer and  listener. Crafted with meticulous attention to detail and a deep  understanding of the instrument’s capabilities, these works encompass  various styles and themes. From the pulsating energy of toccata-like  compositions to reflective, slow pieces, the versatility of the organ is  fully explored. The book also includes modern interpretations of  classic hymns, offering both advanced and intermediate arrangements to  cater to organists of varying skill levels. Seasonal favorites make  their appearance, perfectly suited for Christmas festivities.  Additionally, original works inject a fresh perspective into the  traditional organ repertoire. Whether you are an organist seeking  challenging new material or a listener in search of evocative  soundscapes, this collection provides a comprehensive experience of the  pipe organ’s grandeur and expressive potential.A Mighty Fortress (Toccata on “Ein feste Burgâ€)Abide With MeAnd Can it Be (Sagina)Angels We Have Heard on HighBe Still, My SoulBe Thou My VisionCome, Thou Almighty KingCome, Thou Long Expected Jesus (Hyfrydol) (Advanced)Come, Thou Long Expected Jesus (Hyfrydol) (Intermediate)Crown Him with Many Crowns (Diademata)Ego DormiviFantasySeven Settings on WenceslasGrand Fanfare in FIt is Well (Ville du Havre)La Moglie Della Mia Gioventù (The Wife Of My Youth)La Via Santa (The Holy Way)Lament on Psalm 88Let Us Rise in Early MorningLo How a Rose E’er BloomingMeditation on Psalm 22Mio Figlio, Mia Figlia (My Son, My Daughter) – A LullabyO Come O Come EmmanuelOf Sculptured Ivy and Stone FlowersRejoice the Lord is King (Darwall)Serenade for OrganSing We Now of Christmas (Noel Nouvelet)Thou Didst Leave Thy Throne (Margaret).
$19.99
18.43 €
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Richard deCosta
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Richard deCosta
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Sacred Music for Organ - Autumn 2023 Compilation
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Richard deCosta
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SheetMusicPlus
Love Eternal: Three Weddings Hymns for Harp and Organ (Downloadable)
Harpe et Orgue
Harp and organ - Moderately Easy - Digital Download Composed by Daniel Burton. Wedding. …
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Harp and organ - Moderately Easy - Digital Download Composed by Daniel Burton. Wedding. 39 pages. MorningStar Music Publishers #20-622-E. Published by MorningStar Music Publishers
Talk about a perfect match! The composer is himself both a harpist and an organist. This collection gives both players plenty to do while being quite manageable to play and to put together. Since organists are often expected to suggest music for other instrumentalists, this set is good to have around. Contents: O Perfect Love O Love, How Deep, How Broad, How High Love Divine, All Loves Excelling.Talk about a perfect match! The composer is himself both a harpist and an organist. This collection gives both players plenty to do while being quite manageable to play and to put together. Since organists are often expected to suggest music for other instrumentalists, this set is good to have around.
Contents:
O Perfect Love
O Love, How Deep, How Broad, How High
Love Divine, All Loves Excelling.
$21.00
19.36 €
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Harpe et Orgue
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Daniel Burton
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Love Eternal: Three Weddings Hymns for Harp and Organ
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MorningStar Music Publishers
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SheetMusicPlus
An Organbook
Orgue
Organ 3-staff - Intermediate - Digital Download SKU: LX.70-2116S Music for Servi…
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Organ 3-staff - Intermediate - Digital Download SKU: LX.70-2116S Music for Service or Recital. Composed by Carl Smith. Sacred, Concert, General. Organ. 36 pages. Sacred Music Press #e70/2116S. Published by Sacred Music Press (LX.70-2116S). ISBN 9780787761233.Carl Smith's experience as a musicologist and performer specializing in early keyboard literature combines with inspiration from Italy's art and culture to form a collection of short organ pieces that are suitable for small and large organs. Two works are based on hymns from the Advent and Christmas seasons (Conditor alme siderum and Silent Night). The others are original pieces of varied character suitable as service voluntaries or recital selections.
$21.00
19.36 €
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Orgue
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Carl Smith
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An Organbook
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Sacred Music Press
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SheetMusicPlus
A Treasury of Hymn Settings for Organ
Orgue
Organ: 3-staff - Intermediate SKU: LO.70-1447S Composed by Gilbert M. Martin. Sacre…
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Organ: 3-staff - Intermediate SKU: LO.70-1447S Composed by Gilbert M. Martin. Sacred, General, Hymn-Based Collection. Sacred Music Press #70/1447S. Published by Sacred Music Press (LO.70-1447S). UPC: 000308071115.Whatever the reason, whatever the application, whether for a specific theme for worship or for pleasure at home, this organ collection is filled with magnificent arrangements of beloved hymn melodies, favorites of performers and listeners alike. A glorious and ravishing addition to every organist's library featuring a veritable who's who of composers for organ.
Song List: Prelude on an American Folk Melody Meditation on Arlington Prelude on Guidance Prelude on Heinlein Steal Away Fantasia on Old Hundredth Blessed Assurance Jesus Is Mine Bread Of Heaven On Thee We Feed Variations on a Hymn for Lent
Song List
: Prelude on an American Folk Melody Meditation on Arlington Prelude on Guidance Prelude on Heinlein Steal Away Fantasia on Old Hundredth Blessed Assurance Jesus Is Mine Bread Of Heaven On Thee We Feed Variations on a Hymn for Lent
$25.00
23.05 €
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Orgue
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Gilbert M
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A Treasury of Hymn Settings for Organ
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Sacred Music Press
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SheetMusicPlus
Complete Organ Works
Orgue
Organ - easy to intermediate - Digital Download 9 Chorale Settings. Composed by Matth…
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Organ - easy to intermediate - Digital Download 9 Chorale Settings. Composed by Matthias Weckmann. This edition: Sheet music. Masters of the North German School for Organ. Downloadable. Op. 1. Schott Music - Digital #Q47854. Published by Schott Music - Digital
Matthias Weckmann, born in Niederdorla near Muhlhausen (Thuringia) in 1616 and died in Hamburg in 1674, was trained as a musician by Heinrich Schutz in Dresden among others. He worked as an organist in Dresden (Schlosskirche) and Hamburg (St. Jakobi). It is particularly for the Jakobi organ that he wrote his elaborate and virtuoso organ works. Our new edition in the renowned series 'Masters of the North German Organ School' faithfully transfers the works which survived in letter tablature, providing a reliably edited urtext. Volume 1 contains the cantus firmus-based works, 8 authentic verse cycles with 2-7 movements each in which chorale melodies such as 'Es ist das Heil uns kommen her', 'Gelobet seist du, Jesu Christ)' or the 'Magnificat' are varied, as well as a cycle on 'Ach wir armen Sunder' attributed to Weckmann. Volume 2 proves him to a master of concertante organ music, containing 3 works with pedal (Fantasia, Fuga and Praeambulum in D) as well as several moderately difficult works to be played on manuals only (6 toccatas, 5 canzonas). Reliable standard edition of the music by one of the great (North) German organ masters.Matthias Weckmann, born in Niederdorla near Muhlhausen (Thuringia) in 1616 and died in Hamburg in 1674, was trained as a musician by Heinrich Schutz in Dresden among others. He worked as an organist in Dresden (Schlosskirche) and Hamburg (St. Jakobi). It is particularly for the Jakobi organ that he wrote his elaborate and virtuoso organ works. Our new edition in the renowned series 'Masters of the North German Organ School' faithfully transfers the works which survived in letter tablature, providing a reliably edited urtext. Volume 1 contains the cantus firmus-based works, 8 authentic verse cycles with 2-7 movements each in which chorale melodies such as 'Es ist das Heil uns kommen her', 'Gelobet seist du, Jesu Christ)' or the 'Magnificat' are varied, as well as a cycle on 'Ach wir armen Sunder' attributed to Weckmann. Volume 2 proves him to a master of concertante organ music, containing 3 works with pedal (Fantasia, Fuga and Praeambulum in D) as well as several moderately difficult works to be played on manuals only (6 toccatas, 5 canzonas). Reliable standard edition of the music by one of the great (North) German organ masters.
$34.99
32.26 €
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Complete Organ Works
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Schott Music - Digital
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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
The Organist in Season: Winter
Orgue
Organ: 3-staff - Intermediate SKU: LO.70-1557S Composed by Gilbert M. Martin. Sacre…
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Organ: 3-staff - Intermediate SKU: LO.70-1557S Composed by Gilbert M. Martin. Sacred, Advent, Christmas, Epiphany. Sacred Music Press #70/1557S. Published by Sacred Music Press (LO.70-1557S). UPC: 000308108002.From the expansive and varied organ library of The Sacred Music Press, we proudly present the Winter edition of our multi-volume collection of The Organist in Season. Versatile and exceptional settings of service music for the anticipation and excitement of Advent, the mystery and beauty of Bethlehem, and the hope and promise of Epiphany abound in this kaleidoscopic compendium. A church year index is included to aid in programming.
Song List: We Three Kings Of Orient Are Prelude On Picardy The Sheperds Song Song for a New Year Creator Of The Stars Of Night Alleluia Song of Gladness Chorale Prelude on Cradle Hymn People Look East Prelude on Veni Emmanuel Noel Toccata Toccata on Adeste Fideles Psalm 80 Advent Go Tell It On the Mountain Come Thou Long Expected Jesus
Song List
: We Three Kings Of Orient Are Prelude On Picardy The Sheperds Song Song for a New Year Creator Of The Stars Of Night Alleluia Song of Gladness Chorale Prelude on Cradle Hymn People Look East Prelude on Veni Emmanuel Noel Toccata Toccata on Adeste Fideles Psalm 80 Advent Go Tell It On the Mountain Come Thou Long Expected Jesus
$33.00
30.42 €
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Orgue
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Gilbert M
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The Organist in Season: Winter
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Sacred Music Press
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SheetMusicPlus
Worship Hymns for Organ - Volume 1
Orgue
Organ SKU: HL.8738409 Arranged by Carolyn Hamlin. Organ. Fred Bock Publications. Ge…
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Organ SKU: HL.8738409 Arranged by Carolyn Hamlin. Organ. Fred Bock Publications. General Worship, Sacred. 32 pages. Fred Bock Music Company #BG0943. Published by Fred Bock Music Company (HL.8738409). ISBN 9780634003646. UPC: 073999384093. 9.0x12.0x0.127 inches.Carolyn Hamlin, an organist from Easley, South Carolina, has put together a collection of seven popular hymns, arranged for organ: perfect for preludes, postludes, offertories, and for use at weddings, funerals, etc. The hymntune is always prominent and appears often in the right hand, left hand, or pedal parts! Medium level difficulty. Titles include: Come, Christians Join to Sing * Praise the Lord, Ye Heavens Adore Him * For All the Saints * Holy, Holy, Holy * How Firm a Foundation * In Heavenly Love Abiding * When I Survey the Wondrous Cross.
Song List: HOW FIRM A FOUNDATION (arr. Walters) Come, Thou Long-Expected Jesus HOLY, HOLY, HOLY (JOHN B DYKES) WHEN I SURVEY THE WONDROUS CROSS (MASON) IN HEAVENLY LOVE ABIDING COME, CHRISTIANS, JOIN TO SING FOR ALL THE SAINTS (R. WILLIAMS)
Song List
: HOW FIRM A FOUNDATION (arr. Walters) Come, Thou Long-Expected Jesus HOLY, HOLY, HOLY (JOHN B DYKES) WHEN I SURVEY THE WONDROUS CROSS (MASON) IN HEAVENLY LOVE ABIDING COME, CHRISTIANS, JOIN TO SING FOR ALL THE SAINTS (R. WILLIAMS)
$14.95
13.78 €
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Orgue
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Carolyn Hamlin
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Worship Hymns for Organ - Volume 1
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Fred Bock Music Company
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SheetMusicPlus
Complete Works for Organ
Orgue
Part 1: Free Organ Works (18 Praeludia (pedaliter). Composed by Dietrich Buxtehude (…
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Part 1: Free Organ Works (18 Praeludia (pedaliter). Composed by Dietrich Buxtehude (1637-1707). This edition: Sheet music. Masters of the North German School for Organ. Downloadable. Schott Music - Digital #Q18629. Published by Schott Music - Digital
Buxtehude's organ music fascinated J. S. Bach and generations of organists ever since. Our new edition in the renowned series 'Masters of the North German Organ School' is based on the original version while taking the latest findings of the Buxtehude research into account. Vol. 1 contains 18 Preludes (pedaliter), Vol. 2 three toccatas, 1 preambulum, 2 ciacones, 9 canzonas and 3 fugues.Buxtehude's organ music fascinated J. S. Bach and generations of organists ever since. Our new edition in the renowned series 'Masters of the North German Organ School' is based on the original version while taking the latest findings of the Buxtehude research into account. Vol. 1 contains 18 Preludes (pedaliter), Vol. 2 three toccatas, 1 preambulum, 2 ciacones, 9 canzonas and 3 fugues.
$28.99
26.73 €
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Orgue
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Dietrich Buxtehude
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Complete Works for Organ
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Schott Music - Digital
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SheetMusicPlus
Carillon on Forest Green
By Charles E. Peery. For Organ, Brass Quintet, optional Handbells. Sacred, Christmas. Medi…
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By Charles E. Peery. For Organ, Brass Quintet, optional Handbells. Sacred, Christmas. Medium. Published by MorningStar Music Publishers - Digital Sheet Music
$13.00
11.98 €
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Charles E
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Carillon on Forest Green
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Comfort, Comfort
By David Giardiniere. For Organ, Brass Quintet. Sacred, Advent, Christmas. Medium. Publish…
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By David Giardiniere. For Organ, Brass Quintet. Sacred, Advent, Christmas. Medium. Published by MorningStar Music Publishers - Digital Sheet Music
$15.00
13.83 €
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David Giardiniere
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Comfort, Comfort
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Organ Music for Lent and Easter
Orgue
Organ: 3-staff - Intermediate SKU: LO.KK375 Composed by Raymond H Haan. Sacred, Eas…
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Organ: 3-staff - Intermediate SKU: LO.KK375 Composed by Raymond H Haan. Sacred, Eastertide, Lent. Sacred Music Press #KK375. Published by Sacred Music Press (LO.KK375). UPC: 000308003444.
Song List: Glory Be To Jesus (Caswall) How Calm and Beautiful the Morn I Know That My Redeemer Lives (Calm) (Bradford) Jesu, Grant Me This, I Pray Look, Ye Saints! The Sight Is (Song 13) Glorious (Bryn Calfaria) On Wings of Living Light The Head That Once Was Crowned With (Rhosymedre) Thorns (St. Magnus) There Is A Green Hill Far Away (Horsley)
Song List
: Glory Be To Jesus (Caswall) How Calm and Beautiful the Morn I Know That My Redeemer Lives (Calm) (Bradford) Jesu, Grant Me This, I Pray Look, Ye Saints! The Sight Is (Song 13) Glorious (Bryn Calfaria) On Wings of Living Light The Head That Once Was Crowned With (Rhosymedre) Thorns (St. Magnus) There Is A Green Hill Far Away (Horsley)
$25.00
23.05 €
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Orgue
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Raymond H Haan
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Organ Music for Lent and Easter
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Sacred Music Press
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SheetMusicPlus
Complete Organ Works
Orgue
Organ - intermediate - Digital Download 4 Praeludia - Chorale Fantasia - 2 Praeludia.…
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Organ - intermediate - Digital Download 4 Praeludia - Chorale Fantasia - 2 Praeludia. Composed by Arnold Matthias Brunckhorst and Nicolaus Bruhns (1665-1697). This edition: Sheet music. Meister, Nordeutsche Orgelschule, Organ. Masters of the North German School for Organ. Downloadable. Schott Music - Digital #Q44977. Published by Schott Music - Digital
German - English.<br> <br> Volume 13 of the series 'Meister der Norddeutschen Orgelschule' contains all organ works by Nicolaus Bruhns. Bruhns studied with Dietrich Buxtehude and, from 1689, was cathedral organist in Husum.German - English.<br> <br> Volume 13 of the series 'Meister der Norddeutschen Orgelschule' contains all organ works by Nicolaus Bruhns. Bruhns studied with Dietrich Buxtehude and, from 1689, was cathedral organist in Husum.
$24.99
23.04 €
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Orgue
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Arnold Matthias Brunckhorst and Nicolaus Bruhns
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Complete Organ Works
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Schott Music - Digital
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SheetMusicPlus
Complete Organ Works
Orgue
Organ - intermediate - Digital Download 8 Magnificat Cycles - Anonymus: Chorale Fanta…
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Organ - intermediate - Digital Download 8 Magnificat Cycles - Anonymus: Chorale Fantasy (Magnificat VIII. toni). Composed by Heinrich Scheidemann (1595-1663). This edition: Sheet music. Meister, Nordeutsche Orgelschule, Organ. Masters of the North German School for Organ. Downloadable. Op. 2. Schott Music - Digital #Q47864. Published by Schott Music - Digital
German - English.<br> <br> Band 9 der Reihe Meister der Nordeutschen Orgelschule enthalt 9 Magnificat-Zyklen von Heinrich Scheidemann (um 1595-1663). Scheidemann studierte 1611-1614 bei Sweelinck in Amsterdam und wirkte ab 1629 rund dreieineinhalb Jahrzehnte als Organist an der Kirche St. Katharinen in Hamburg.German - English.<br> <br> Band 9 der Reihe Meister der Nordeutschen Orgelschule enthalt 9 Magnificat-Zyklen von Heinrich Scheidemann (um 1595-1663). Scheidemann studierte 1611-1614 bei Sweelinck in Amsterdam und wirkte ab 1629 rund dreieineinhalb Jahrzehnte als Organist an der Kirche St. Katharinen in Hamburg.
$33.99
31.34 €
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Orgue
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Heinrich Scheidemann
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Complete Organ Works
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Schott Music - Digital
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SheetMusicPlus
50 Hymn Trios for Organ
Orgue
Organ - Digital Download SKU: JX.JMG1331 Arranged by Wolfgang Rübsam. Collection…
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Organ - Digital Download SKU: JX.JMG1331 Arranged by Wolfgang Rübsam. Collection. 100 pages. Jubilate Music Group - Digital #JMG1331. Published by Jubilate Music Group - Digital (JX.JMG1331). ISBN 9781959503170. UPC: 850055807211.These short trios were designed to be performed as hymn introductions, short preludes or brief hymn meditations. They are highly accessible (almost sight-readable) and extremely flexible, and will prove a welcome addition to the library of organists with limited practice time. This amazing collection is presented in church year order and contains trios based on 50 familiar hymn tunes. From Advent through Pentecost, Rübsam’s trios are scored for a two-manual instrument, making them accessible to the majority of organists. In short, this collection of 50 Hymn Trios for Organ is easily accessible, extremely versatile, and will be a welcome addition to any organist’s library!Look for Volume Two of this publication (with 50 additional hymn trios for organ) in 2024!
$29.99
27.65 €
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Orgue
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Wolfgang Rübsam
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50 Hymn Trios for Organ
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Jubilate Music Group - Digital
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SheetMusicPlus
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