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1976
Op. 47, No. 7: Verse sans fin from Songs of Gouvy, V1 (Downloadable)
Piano, Voix
Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SK…
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Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SKU: MQ.8491-40E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 4 pages. E. C. Schirmer Music Company - Digital #8491-40E. Published by E. C. Schirmer Music Company - Digital (MQ.8491-40E). French.A French composer, Théodore Gouvy (1819-1898) was one of the most significant composers of 19th Century in Europe. The movement of rediscovering his instrumental music has been increasingly successful in Europe since the 1990s, especially following the birth of L’Institut Gouvy in France. However, his solo vocal music has been waiting to be unveiled to the public. Volume One includes 52 songs of Gouvy.Gouvy traveled widely throughout Europe. He was also a lover of nature. Generally, he spent his winters in Leipzig, but in the summertime, he always returned to Hombourg-Haut, France, to stroll through the woods, to hunt, and to relax. Gouvy was fluent in several languages and had a great appreciation of the Renaissance French Poetry of Pierre de Ronsard whose poetry he had set to music. The fifty-two songs in this volume are largely by Ronsard and other Renaissance poets of La Pléiade.Although Ronsard is approximately 300 years older than Gouvy, they both seem to have the same interest in classical literature, though, admittedly, for different reasons. Celebrated by the French and English courts, Ronsard (1525-1585) was the leader of La Pléiade: a group of seven poets (Joachim Du Bellay (1522-1560), Rémy Belleau (1528-1577), Étienne Jodelle (1532-1573), Pontus de Tyard (1521-1603), Jean–Antoine Baïf (1532-1589), and Jean Daurat (1508-1588), who dedicated their efforts to writing poetry in French rather than in Latin (or Greek) as most of the Romantic poets did. They wished to enrich the French language, and establish a new literature which would be the equal of the other literature of their period, and the equal to poets of the past. French Romantic poetry featured the closeness of the poet to nature, and his ability to communicate with nature by personifying (anthropomorphizing) all of nature’s elements: flowers, the planets, the moon, the breeze, and even the sand upon the shore. As a significant melodist, Gouvy’s treatment of the vocal solo line and his treatment and development of the piano accompaniment places him in the upper echelons as a composer of songs. His diverse cultural life led a rich and significant musical life, interacting with his contemporaries who admired his work, and whom Gouvy knew well, such as Liszt, Brahms, Schumann, Mendelssohn, Berlioz and Gounod. Contents:Six Odes de Ronsard pour ténor et piano, Op. 37 (No. 3 et No. 5 avec violoncelle) Neuf Poésies de Ronsard pour soprano ou ténor et piano, Op. 41 Six Poésies de Ronsard pour soprano ou ténor et piano, Op. 42 Quatre Odes de Ronsard pour baryton et piano, Op. 43 Huit Poésies de Ronsard pour ténor ou soprano et piano, Op. 44 Sept Poésies de Ronsard pour ténor ou soprano et piano, Op. 47.
$3.00
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Piano, Voix
#
MeeAe Cecilia Nam and Theodore Gouvy
#
Op. 47, No. 7: Verse sans fin from Songs of Gouvy, V1
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.93 €
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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
U. F. O. A new & original 'Sci-Fi' stage musical
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.999346 Composed by Dennis …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.999346 Composed by Dennis A. Westgate. Contemporary,Musical/Show,Pop,World. Octavo. 107 pages. Tyne Music #5871343. Published by Tyne Music (A0.999346). U. F. O. : Is my newest sci-fi full length modern play in the TYNE ONSTAGE series of original musicals. I wrote this specifically for the senior students of the Performing Arts. It has many leading parts for both sexes and has a hint of the 60-70 style of writing found in those musicals of the times but modern in context. The story line includes opportunities for many individual performances covering song and dance numbers, group singing, contemporary dance, dramatic interludes and strong comedy parts. This is an original story taking a humorous look at a possible visitation from our space neighbours. The story begins with the arrival of GS2, an ‘Interstellar Space Surveyor’ on its mission to map this part of the Universe. Whilst reporting its position to the home base ‘Niva’, the surveyor informs them that one of the planets (Earth) appears to have intelligent life forms. On receiving this information Niva decides to dispatch a party of college students to study this unique planet, much to the annoyance of GS2 who take umbridge at being appointed, what he calls a Galactic Nanny! Events take a dramatic turn when the surveyor is called away on an ‘emergency rescue mission’ so has to beam the students down to planet Earth, where during transmutation, they are warned not to integrate with the population. But ‘students being students’ the consequences are both hilarious and profound.This album includes the Piano & Vocal Score along with the full Libretto.For full information please see my website:- https://www.tynemusic.com/u-f-oP.S. Owing to the high cost in orchestration The music is only available as a piano score with lyrics and chords. However this is reflected in the price. You would have to add your own instrumentation, but this would be an excellent opportunity for any up and coming senior student to take on.SONG TITLES 1) Earthbound 2) Hold the Front Page 3) Sex Talk 4) We’re In This Together 5) The Annual Bazaar 6) You Are Me 7) Body Talk 8) Bionic Love
$70.00
64 €
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Chorale SATB
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Dennis A
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U. F. O. A new & original 'Sci-Fi' stage musical
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Tyne Music
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SheetMusicPlus
Go Out to All the World (Ps. 117) [Alto Verses]
Alto Voice,Choir,Piano - Digital Download SKU: A0.1068131 Composed by Cherolyn Klos…
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Alto Voice,Choir,Piano - Digital Download SKU: A0.1068131 Composed by Cherolyn Klosner-Lane, Gene Klosner. Arranged by Cherolyn Klosner -Lane, Gene Klosner. Christian,Graduation,Sacred. Accompaniment. Duration 220. Cher & Gene Klosner #4782721. Published by Cher & Gene Klosner (A0.1068131). Responsorial Psalm. USCCB-approved for Catholic and liturgical use. Verbatim Text on refrain and verses. Duration: 3:40.Contemporary setting of Psalm 117 with Psalm Tone verses. (Refrain: Mark 16:15, Mk. 16:15)9th Sunday in Ordinary Time C (ord9C), 21st Sunday in Ordinary Time C (ord21C), Graduation, Baccalaureate, Confirmation, more.Official Liturgical text: Go out to all the world and tell the Good News.Sheet music available in Octavo and Soloist/Small Group formats. MP3s available w/Alto or Tenor verses.Other liturgical uses for this psalm:Friday of the 3rd Week of Easter ABC (east3Fr)Wednesday of the 27th Week in Ordinary Time C (ord27We)Common Masses of Pastors: For MissionariesRitual Masses: For Conferral of Holy Orders Masses for the ChurchMasses for the Evangelization of PeoplesJanuary 25: Feast of the Conversion of St. Paul, Apostle (fst0125)February 3, optional: Memorial of St. Blase, bishop & martyr (optmem0203)February 14: Memorial of Sts. Cyril, monk, and Methodius, bishop (mem0214)April 28, optional: Memorial of St. Peter Chanel, priest and martyr (optmem0428)June 5: Memorial of St. Boniface, bishop and martyr (mem0605)July 3: Feast of St. Thomas, Apostle (fst0703)August 4: Memorial of St. John Mary Vianney, priest (mem0804)October 20, optional: Memorial of St. Paul of the Cross, priest (optmem1020)December 3: Memorial of St. Francis Xavier, priest (mem1203)https://www.facebook.com/LTFMusic/www.LTFMusic.comwww.youtube.com/cgklosner
$1.99
1.82 €
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Cherolyn Klosner-Lane, Gene Klosner
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Go Out to All the World
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Cher & Gene Klosner
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SheetMusicPlus
Go Out to All the World (Ps. 117) [Tenor Verses]
Choir,Piano,Tenor Voice - Digital Download SKU: A0.1068132 Composed by Cherolyn Klo…
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Choir,Piano,Tenor Voice - Digital Download SKU: A0.1068132 Composed by Cherolyn Klosner-Lane, Gene Klosner. Arranged by Cherolyn Klosner-Lane, Gene Klosner. Christian,Graduation,Sacred. Accompaniment. Duration 220. Cher & Gene Klosner #4782727. Published by Cher & Gene Klosner (A0.1068132). Responsorial Psalm. USCCB-approved for Catholic and liturgical use. Verbatim Text on refrain and verses. Duration: 3:40.Contemporary setting of Psalm 117 with Psalm Tone verses. (Refrain: Mark 16:15, Mk. 16:15)9th Sunday in Ordinary Time C (ord9C), 21st Sunday in Ordinary Time C (ord21C), Graduation, Baccalaureate, Confirmation, more.Official Liturgical text: Go out to all the world and tell the Good News.Sheet music available in Octavo and Soloist/Small Group formats. MP3s available w/Alto or Tenor verses.Other liturgical uses for this psalm:Friday of the 3rd Week of Easter ABC (east3Fr)Wednesday of the 27th Week in Ordinary Time C (ord27We)Common Masses of Pastors: For MissionariesRitual Masses: For Conferral of Holy Orders Masses for the ChurchMasses for the Evangelization of PeoplesJanuary 25: Feast of the Conversion of St. Paul, Apostle (fst0125)February 3, optional: Memorial of St. Blase, bishop & martyr (optmem0203)February 14: Memorial of Sts. Cyril, monk, and Methodius, bishop (mem0214)April 28, optional: Memorial of St. Peter Chanel, priest and martyr (optmem0428)June 5: Memorial of St. Boniface, bishop and martyr (mem0605)July 3: Feast of St. Thomas, Apostle (fst0703)August 4: Memorial of St. John Mary Vianney, priest (mem0804)October 20, optional: Memorial of St. Paul of the Cross, priest (optmem1020)December 3: Memorial of St. Francis Xavier, priest (mem1203)https://www.facebook.com/LTFMusic/www.LTFMusic.comwww.youtube.com/cgklosner
$1.99
1.82 €
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Cherolyn Klosner-Lane, Gene Klosner
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Go Out to All the World
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Cher & Gene Klosner
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SheetMusicPlus
Guitar Compendium
Guitare
Technique / improvisation / musicianship / theory. This edition: method. Instrumenta…
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Technique / improvisation / musicianship / theory. This edition: method. Instrumentalunterricht, Gitarre, Theorie. The Praxis System. Downloadable. Op. Vol. 1. Advance Music #Q54672. Published by Advance Music
English.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, orEnglish.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or
$23.99
21.93 €
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Guitare
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Guitar Compendium
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Advance Music
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SheetMusicPlus
Fanfare for a New Age: (wp) 1st Horn in E-flat
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0002201_WPEH1 (wp) 1st Horn in E-f…
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Concert Band - Digital Download SKU: AX.00-PC-0002201_WPEH1 (wp) 1st Horn in E-flat. Composed by Michael Story. Instructional. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0002201_wpEH1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002201_WPEH1). UPC: 654979092162.Bold and spectacular, this concert or contest opener will grab the attention of your audience. Opening with a striking musical salute, the rhythmic ostinato is established with the woodwinds and mallets developing the foundation for the charming melody which traverses each instrument family. A real winner! (2:11)List/syllabus: TX UIL PML: Band, Winds, PercConcert/Contest.
$3.00
2.74 €
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Orchestre d'harmonie
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Michael Story
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Fanfare for a New Age:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fanfare for a New Age: (wp) B-flat Tuba T.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTBBTC (wp) B-flat Tuba T…
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Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTBBTC (wp) B-flat Tuba T.C.. Composed by Michael Story. Instructional. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0002201_wpTBBTC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002201_WPTBBTC). UPC: 654979092162.Bold and spectacular, this concert or contest opener will grab the attention of your audience. Opening with a striking musical salute, the rhythmic ostinato is established with the woodwinds and mallets developing the foundation for the charming melody which traverses each instrument family. A real winner! (2:11)List/syllabus: TX UIL PML: Band, Winds, PercConcert/Contest.
$3.00
2.74 €
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Orchestre d'harmonie
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Michael Story
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Fanfare for a New Age:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fanfare for a New Age: (wp) E-flat Tuba B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTBEBC (wp) E-flat Tuba B…
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Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTBEBC (wp) E-flat Tuba B.C.. Composed by Michael Story. Instructional. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0002201_wpTBEBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002201_WPTBEBC). UPC: 654979092162.Bold and spectacular, this concert or contest opener will grab the attention of your audience. Opening with a striking musical salute, the rhythmic ostinato is established with the woodwinds and mallets developing the foundation for the charming melody which traverses each instrument family. A real winner! (2:11)List/syllabus: TX UIL PML: Band, Winds, PercConcert/Contest.
$3.00
2.74 €
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Orchestre d'harmonie
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Michael Story
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Fanfare for a New Age:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fanfare for a New Age: (wp) 1st B-flat Trombone B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTN1BC (wp) 1st B-flat Tr…
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Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTN1BC (wp) 1st B-flat Trombone B.C.. Composed by Michael Story. Instructional. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0002201_wpTN1BC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002201_WPTN1BC). UPC: 654979092162.Bold and spectacular, this concert or contest opener will grab the attention of your audience. Opening with a striking musical salute, the rhythmic ostinato is established with the woodwinds and mallets developing the foundation for the charming melody which traverses each instrument family. A real winner! (2:11)List/syllabus: TX UIL PML: Band, Winds, PercConcert/Contest.
$3.00
2.74 €
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Orchestre d'harmonie
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Michael Story
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Fanfare for a New Age:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fanfare for a New Age: (wp) E-flat Tuba T.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTBETC (wp) E-flat Tuba T…
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Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTBETC (wp) E-flat Tuba T.C.. Composed by Michael Story. Instructional. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0002201_wpTBETC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002201_WPTBETC). UPC: 654979092162.Bold and spectacular, this concert or contest opener will grab the attention of your audience. Opening with a striking musical salute, the rhythmic ostinato is established with the woodwinds and mallets developing the foundation for the charming melody which traverses each instrument family. A real winner! (2:11)List/syllabus: TX UIL PML: Band, Winds, PercConcert/Contest.
$3.00
2.74 €
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Orchestre d'harmonie
#
Michael Story
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Fanfare for a New Age:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fanfare for a New Age: (wp) 1st B-flat Trombone T.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTN1TC (wp) 1st B-flat Tr…
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Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTN1TC (wp) 1st B-flat Trombone T.C.. Composed by Michael Story. Instructional. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0002201_wpTN1TC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002201_WPTN1TC). UPC: 654979092162.Bold and spectacular, this concert or contest opener will grab the attention of your audience. Opening with a striking musical salute, the rhythmic ostinato is established with the woodwinds and mallets developing the foundation for the charming melody which traverses each instrument family. A real winner! (2:11)List/syllabus: TX UIL PML: Band, Winds, PercConcert/Contest.
$3.00
2.74 €
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Orchestre d'harmonie
#
Michael Story
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Fanfare for a New Age:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fanfare for a New Age: (wp) B-flat Baritone B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0002201_WPBBBC (wp) B-flat Bariton…
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Concert Band - Digital Download SKU: AX.00-PC-0002201_WPBBBC (wp) B-flat Baritone B.C.. Composed by Michael Story. Instructional. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0002201_wpBBBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002201_WPBBBC). UPC: 654979092162.Bold and spectacular, this concert or contest opener will grab the attention of your audience. Opening with a striking musical salute, the rhythmic ostinato is established with the woodwinds and mallets developing the foundation for the charming melody which traverses each instrument family. A real winner! (2:11)List/syllabus: TX UIL PML: Band, Winds, PercConcert/Contest.
$3.00
2.74 €
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Orchestre d'harmonie
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Michael Story
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Fanfare for a New Age:
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Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Fanfare for a New Age: (wp) B-flat Tuba B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTBBBC (wp) B-flat Tuba B…
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Concert Band - Digital Download SKU: AX.00-PC-0002201_WPTBBBC (wp) B-flat Tuba B.C.. Composed by Michael Story. Instructional. World Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0002201_wpTBBBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002201_WPTBBBC). UPC: 654979092162.Bold and spectacular, this concert or contest opener will grab the attention of your audience. Opening with a striking musical salute, the rhythmic ostinato is established with the woodwinds and mallets developing the foundation for the charming melody which traverses each instrument family. A real winner! (2:11)List/syllabus: TX UIL PML: Band, Winds, PercConcert/Contest.
$3.00
2.74 €
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Orchestre d'harmonie
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Michael Story
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Fanfare for a New Age:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Christ for the World We Sing
Chorale SATB
SATB - Early Intermediate - Digital Download Composed by Brian Cockburn. Christian, S…
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SATB - Early Intermediate - Digital Download Composed by Brian Cockburn. Christian, Sacred, General Worship, Easter. Octavo. 5 pages. Published by New Voice Music
Composed for ease of preparation, this anthem, based on Lowell Mason's familiar hymn tune and the words of Samuel Wolcott, may be rehearsed and ready to perform in one Sunday morning. Perfect for the first Sunday back, a special event, or any other occasion when you don't have much time to prepare. While, everyone will recognize the tune throughout, the a-capella, third verse, is in 4/4 with easily accomplished harmonic variations. The last verse provides a majestic and exciting accompaniment, unison choir, and a soaring descant, followed by a short and surprising coda.<br> <br> This anthem celebrates singing, music, and service, and is also appropriate for topics including Service, Mission, and Celebration of a Call.<br> <br> Complete Score and Recording available on YoutubeComposed for ease of preparation, this anthem, based on Lowell Mason's familiar hymn tune and the words of Samuel Wolcott, may be rehearsed and ready to perform in one Sunday morning. Perfect for the first Sunday back, a special event, or any other occasion when you don't have much time to prepare. While, everyone will recognize the tune throughout, the a-capella, third verse, is in 4/4 with easily accomplished harmonic variations. The last verse provides a majestic and exciting accompaniment, unison choir, and a soaring descant, followed by a short and surprising coda.<br> <br> This anthem celebrates singing, music, and service, and is also appropriate for topics including Service, Mission, and Celebration of a Call.<br> <br> Complete Score and Recording available on Youtube
$1.99
1.82 €
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Chorale SATB
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Brian Cockburn
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Christ for the World We Sing
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New Voice Music
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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
31.99 €
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Orgue
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Complete Organ Works
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Schott Music - Digital
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SheetMusicPlus
Glory, Hallelujah to the Newborn King
Chorale SATB
SATB choir, a cappella - Digital Download SKU: LX.15-3027H Composed by Ruth Morris …
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SATB choir, a cappella - Digital Download SKU: LX.15-3027H Composed by Ruth Morris Gray. Christmas. Octavo. 16 pages. Heritage Music Press #e15/3027H. Published by Heritage Music Press (LX.15-3027H). ISBN 9781429132633.Pull out all of the stops with this exuberant original Christmas spiritual that will be the sure-fire hit of your concert! Verses that feature a soloist or entire section and a creative bridge that builds to a dramatic ending contribute to an exciting work that is equally effective for school and church use.
$2.75
2.51 €
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Chorale SATB
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Ruth Morris Gray
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Glory, Hallelujah to the Newborn King
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Heritage Music Press
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SheetMusicPlus
Groovin' Rudments
Batterie
Jazz. Ebook and online audio. 49 pages. Mel Bay Publications - Digital Sheet Music #…
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Jazz. Ebook and online audio. 49 pages. Mel Bay Publications - Digital Sheet Music #31024MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513470658. 8.75x11.75 inches.<br> <br> After learning some basic beats, students of the drum set often ask, “how do I get to the next level?” Developing drum rudiments will open up a new universe on the drum set by building technique, speed, and dexterity. Playing these sticking patterns with the online grooves and beats creates another enjoyable dimension to the material.Applying new skills by playing with other musicians is an important part of the learning process. The online music tracks facilitate this and make it fun to play the examples in a musical setting. Each recorded example appears in two separate versions; one includes the drums as a reference, and the other leaves the drum tracks out so students can provide the drumming.All examples are written in standard drum set notation. Includes access to online audio.ISBN 9781513470658. 8.75x11.75 inches.<br> <br> After learning some basic beats, students of the drum set often ask, “how do I get to the next level?” Developing drum rudiments will open up a new universe on the drum set by building technique, speed, and dexterity. Playing these sticking patterns with the online grooves and beats creates another enjoyable dimension to the material.Applying new skills by playing with other musicians is an important part of the learning process. The online music tracks facilitate this and make it fun to play the examples in a musical setting. Each recorded example appears in two separate versions; one includes the drums as a reference, and the other leaves the drum tracks out so students can provide the drumming.All examples are written in standard drum set notation. Includes access to online audio.
$14.99
13.7 €
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Batterie
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Groovin' Rudments
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
IT'S CHRISTMASTIME (a new trad. Christmas carol)
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.935513 Composed by Sh…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.935513 Composed by Shaun Parry. A Cappella,Christian,Christmas,Traditional. Score. 7 pages. MusicforMillions #4995115. Published by MusicforMillions (A0.935513). Written in the style of classic Christmas carols with fun, memorable melody and lyrics, this new Christmas song will quickly become a part of your caroling tradition. By and large, Christmas music is either sacred or secular -- about Jesus, Mary, the shepherds and angels or about presents and parties and mistletoe. We live them both simultaneously. This carol represents that, with the first verse being a patter of Christmas excitement and the second more lyrical focusing on the advent of the Savior. Then, just as in life, they are sung together, complimenting each other. We end in unison with a glorious and memorable refrain Nativity mangers make friends out of strangers with peace on earth, good will to all men.This song has the potential to become a regular part of Christmas carol canon sung by millions around the world.* Perfect for school or church Christmas concerts. * Great for families around the fireplace or out caroling.* Bells/Chimes add a beautiful touch but it can also be performed with just piano and voices or even a capella. I have even enjoyed singing to guitar or ukulele.* Written to be sung by two groups, however, there is a cut version (explained in print) that does not require splitting. It can be sung straight through without overlapping the verses.* Some harmony parts are indicated in the vocal line. Of course you can sing the melody in unison all the way through, but there are ample opportunities to break out into fun 2,3 and (in some places) 4-part harmonies. Up to you.You can find me at @the_shaunparry or www.shaunparry.com
$3.99
3.65 €
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Piano, Voix et Guitare
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and large, Christmas music is either sacred or secular -- about Jesus, Mary, the shepherds and angels or about presents and parties and mistletoe
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Shaun Parry
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IT'S CHRISTMASTIME
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MusicforMillions
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SheetMusicPlus
Across The Universe
Chorale 3 parties
Choral Choir (SAA) - Level 3 - Digital Download SKU: A0.1133340 By The Beatles. By …
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Choral Choir (SAA) - Level 3 - Digital Download SKU: A0.1133340 By The Beatles. By John Lennon and Paul McCartney. Arranged by Alexandra L. Uitdenbogerd. A Cappella,Multicultural,New Age,Pop,Singer/Songwriter,World. Octavo. 5 pages. Alexandra L. Uitdenbogerd #733473. Published by Alexandra L. Uitdenbogerd (A0.1133340). SAA arrangement of Across the Universe by the Beatles with melody shared by the upper two parts until the third verse, when the lowest part takes the melody with homophonic harmonies above it. Ranges Soprano: Middle C (C4) to D5 Alto 1: G3 to C5 Alto 2: G3 to A4 Program Notes Across the Universe was a song written by John Lennon and performed by the Beatles. Lennon turned a negative reaction to Cynthia Lennon’s chatter into an inspired, positive, transcendental meditation-influenced song. It was first released on a charity album and included female backing vocals and a children’s choir. A pared back version was then released on the Beatles Let It Be album. I was inspired by but too late for the Space and Time themed RMIT Music concert, which happened to be on John Lennon’s birthday, and arranged the song for SAA voices, with the melody in an alto-friendly key, matching the CORP attendees at the time. The melody is faithful to the original recording, adds an accompanying “wah-wah†in the second verse, suggestive of the trippy guitar effect, and reinstates the female backing vocals in the third verse.
$2.49
2.28 €
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Chorale 3 parties
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The Beatles
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Alexandra L
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Across The Universe
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Alexandra L. Uitdenbogerd
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SheetMusicPlus
I Will Make All Things New - Accompaniment Download
Digital Download SKU: LX.E99-3812L Composed by Mary McDonald. General. Sacred Anthe…
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Digital Download SKU: LX.E99-3812L Composed by Mary McDonald. General. Sacred Anthem, Discipleship, General. Accompaniment MP3. Lorenz Publishing - Digital Sheet Music #E99/3812L. Published by Lorenz Publishing - Digital Sheet Music (LX.E99-3812L). Orchestrated by Ed Hogan.Downloadable accompaniment track for 'I Will Make All Things New' (10/4953L). This anthem of comfort and encouragement from Mary McDonald features a powerful refrain and thoughtful verses with text inspired by Isaiah 43. The lyrical melodies are supported by a robust piano accompaniment and the option of a soaring full orchestra.
$14.95
13.67 €
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Mary McDonald
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I Will Make All Things New - Accompaniment Download
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Adeste Fideles, Hymn Concertato, descant verse and final verse with brass quintet & organ
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1475880
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1475880 By Nigel Williams. By John Francis Wade. Arranged by Nigel Williams. Christmas,Traditional. 17 pages. Nigel Williams #1053441. Published by Nigel Williams (A0.1475880). This concertato arrangement of the 3rd and 4th verse offers a new descant for verse three as well as a brass quintet accompaniment for the final verse. This makes it an ideal arrangement for Christmas Day. The third verse allows the sopranos to sing a new and fresh descant while the congregation and ATB members of the choir sing in unison, accompanied by the organ and 1st trumpet. A short two-bar link passage allows the music to modulate up a key to A flat major. Congregation and choir in unison accompanied by brass quintet and organ: Yea, Lord, we greet Thee, born this happy morning. The seventeen page score downloads with five individual brass parts, a two page organ score and one page soprano descant score attached. (See also my arrangement of these two verses for soprano descant, trumpet & organ).
$14.99
13.7 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Nigel Williams
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Nigel Williams
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organ).
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Adeste Fideles, Hymn Concertato, descant verse and final verse with brass quintet & organ
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Nigel Williams
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SheetMusicPlus
Sing a New Song to the Lord (Downloadable)
Chorale SATB
SATB choir, optional congregation, organ - Moderately Difficult - Digital Download SKU:…
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SATB choir, optional congregation, organ - Moderately Difficult - Digital Download SKU: MQ.50-7065-E Composed by Paul Manz. Reformation. 11 pages. MorningStar Music Publishers - Digital Sheet Music #50-7065-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-7065-E). This setting of Psalm 96 was originally published in 1972 in the hymnal Hymns, Psalms, and Spiritual Canticles. Large chords from the organ accompany the recurring antiphon Sing to the Lord followed by verses from the Psalms in a variety of different styles. This truly is a unique work by Manz. Reproducible page for congregation included.
$1.75
1.6 €
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Chorale SATB
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Paul Manz
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Sing a New Song to the Lord
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
The New Jerusalem (Downloadable)
Chorale SATB
SATB choir, keyboard - Medium to Moderately Difficult - Digital Download SKU: MQ.50-810…
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SATB choir, keyboard - Medium to Moderately Difficult - Digital Download SKU: MQ.50-8100-E Composed by Bruce Vantine. All Saints/All Souls, Funeral. 7 pages. MorningStar Music Publishers - Digital Sheet Music #50-8100-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-8100-E). Uses selected verses from Revelation and incorporates American folk hymn, LAND OF REST.
$2.25
2.06 €
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Chorale SATB
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Bruce Vantine
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The New Jerusalem
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
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