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Tri et filtres :
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3 Euphoniums
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Quatuor de cuivres: 4 trombones
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Violon et Piano
57
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48
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44
Harpe
19
Violon, Violoncelle (duo)
19
Violoncelle, Piano
12
Alto, Piano
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
Harpe, Voix
6
Violon
5
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4
2 Violoncelles (duo)
3
2 Violons (duo)
3
Violon, Alto (duo)
3
Trio à Cordes: violon, alto, violoncelle
3
Contrebasse, Piano (duo)
2
3 Harpes
2
Violon, Basson (duo)
2
Ensemble d'Altos
2
Harpe, Violon (duo)
2
Violon (partie séparée)
2
Ensemble de Violons
2
2 Altos (duo)
1
Violoncelle
1
Violoncelle, Contrebasse (duo)
1
Contre Basse
1
Contrebasse (partie séparée)
1
Trio à Cordes: 2 violons, violoncelle
1
Alto (partie séparée)
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Orchestre
46
Orchestre d'harmonie
23
Orchestre à Cordes
20
Ensemble Jazz
12
Jazz combo
8
Orchestre de chambre
6
Cloches
3
Percussion (partie séparée)
2
Ensemble de cuivres
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Ensemble de Percussions
2
Vibraphone
1
2 Xylophones
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Piano et Orchestre
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Marimba
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Quintette à Vent
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Voix et Orchestre
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Das Rheingold
Piano, Voix
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Oper, Theater. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q17853. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> <br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages (German, English, French)<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> DAS RHEINGOLD<br> <br> "This piano score has been compiled on the basis of the edition of Rheingold in the critical complete edition of the musical works of Richard Wagner (Richard Wagner, Samtliche Werke, Vol. 10, I-II, edited by Egon Voss, Mainz 1988f.). The primary source for the edition of Rheingold in the complete edition was the first print of the score (E) which was published by Schott's Sohne, Mainz in 1873. Unfortunately, the source which would have been of greatest significance for revision purposes could not be utilised in the preparation of this edition. Wagner's autograph fair copy of the score which was included in Ludwig II's estate fell into the hands of Adolf Hitler in 1939 and has never been seen again since 1945. For this reason, it was necessary to make frequent reference to both the so-called compositional sketch (KS) and the first draft of the score (PE). For any questionable interpretations of E in the principle text, the variants in KS and PE have been added in small print or footnotes. This also applies to additional markings and alterations undertaken by Wagner during rehearsals for the first performances in 1876 which were recorded by his assistants, principally by Heinrich Porges. These variants are marked with the sign [1876]. Remarks in quotation marks reproduce Wagner's original comments. At certain points, reference has also been made to the records by Felix Mottl who was also present at the rehearsals and performances in 1876. Further relevant information can be found in the volumes of the complete edition." (Egon Voss, quoted from the foreword of the new Rheingold vocal score. translation by Lindsay Chalmers-Gerbracht)
$47.99
43.91 €
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Piano, Voix
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Richard Wagner (1813-1883)
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Das Rheingold
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Schott Music - Digital
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SheetMusicPlus
Die Walkure
Piano, Voix
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q25919. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages(German, English, French).<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> <br> DIE WALKURE<br> <br> In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.<br> <br> The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.<br> <br> (Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)
$53.99
49.4 €
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Piano, Voix
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Richard Wagner (1813-1883)
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Die Walkure
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Schott Music - Digital
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SheetMusicPlus
A NEW DEAL
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.1017874 Composed by Hilary Brooks, Lyr…
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Piano,Vocal,Voice - Digital Download SKU: A0.1017874 Composed by Hilary Brooks, Lyrics by Clive King. 20th Century,Blues,Broadway,Jazz,Musical/Show. Score. 7 pages. Hilary Brooks #6343499. Published by Hilary Brooks (A0.1017874). Piano/Voice. Musical theatre song from the musical MELANIA. Solo female. 1930's. Satire. Eleanor Roosevelt and the New Deal policy. It's a long way from the Eastern Bloc to the East Wing - and for one former glamour model turned FLOTUS it hasn't been a happy journey. Can the ghosts of Eleanor Roosevelt and Jackie Kennedy lift our heroine's spirits? Hilary Brooks and Clive King have written a highly entertaining musical with songs full of humour and irony (Mumble Musicals) ★★★★★@brooksandking. Brooks & King are represented by Micheline Steinberg Associates: micheline@steinplays.com. Requests for script copies and permissions for productions should be sought through MSA.A chamber musical for three female actors.Original production length: 58 minutes. Suitable for MT students, colleges, MT societies.
$4.37
4 €
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Piano, Voix
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Hilary Brooks, Lyrics by Clive King
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A NEW DEAL
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Hilary Brooks
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SheetMusicPlus
WEE FREE! The Musical
Piano, Voix
Piano,Vocal,Voice - Digital Download SKU: A0.1017877 Composed by Hilary Brooks, Lyr…
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Piano,Vocal,Voice - Digital Download SKU: A0.1017877 Composed by Hilary Brooks, Lyrics by Clive King. Broadway,Celtic,Film/TV,Musical/Show. Score. 58 pages. Hilary Brooks #6344929. Published by Hilary Brooks (A0.1017877). WEE FREE! The Musical Piano/Voice. Musical Theatre. Based on a true story. 58 pages. 7 songs. 1984. Morna escapes the city to teach music on the remote Isle of Munst. When she accidentally marries a pillar of the community, she finds herself at odds with the quirks of The Kirk and the strange ways of the locals. Can a New Romantic survive on an island ruled by The Old Testament? Cleverly written... great songs... outstanding cast... crisp direction. **** The Herald Delightful performances... fine sings of love and disappointment... has the audience rolling in the aisles. **** The Scotsman A rare and scintillating treat... funny and cannily observant. **** Mumble Musicals A chamber musical for four actors - 2F, 2M.Original production length: 57 minutes. Suitable for MT students, colleges, MT societies.contact: @BrooksandKing
$30.61
28.01 €
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Piano, Voix
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Hilary Brooks, Lyrics by Clive King
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WEE FREE! The Musical
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Hilary Brooks
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SheetMusicPlus
Sing the News! (An Advent Anthem for Women's Choir)
Chorale 3 parties
Choral Choir (SSA) - Level 1 - Digital Download SKU: A0.781396 Composed by Joanna M…
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Choral Choir (SSA) - Level 1 - Digital Download SKU: A0.781396 Composed by Joanna Mills. A Cappella,Christmas,Contemporary,Holiday,Sacred. Octavo. 8 pages. Joanna Mills Music #6625415. Published by Joanna Mills Music (A0.781396). This beautiful Advent or Christmas anthem tells the story of Gabriel's visit to Mary from the perspective of the larks and nightingales who witness the visit and then sing the news far and wide. Featuring beautiful harmonies and a special a capella section, this will be a stunning addition to any Christmas concert or Lessons & Carols service. Soprano C4 -F5, Mezzo Bb3 - C5, Alto G3 - A4. Approximate performance time 2:32. Joanna Mills' passion is music and singing. From 1998 to 2018, she was the director of the Roncesvalles Gospel Choir and has written and directed many original children's musicals at Roncesvalles United Church. She performs frequently in local festivals and clubs with her six-voice folkgrass ensemble North of Queen. Joanna is an award-winning songwriter (Songdoor, Song of the Year, ISSA) and arranger and her works have been performed by choirs and bands all over the world. Trained formally in voice, piano, and oboe throughout her younger years, Joanna has sung in (and lead) various choirs, performed with the New Westminster Musical Theatre Guild, and teaches Musical Theatre, piano, and voice at her home studio and at Broadway Arts Centre in Toronto, Ontario. For more information and additional resources please visit joannamills.ca or email joannamillsmusic@gmail.com
$1.99
1.82 €
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Chorale 3 parties
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Joanna Mills
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Carols service
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Sing the News!
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Joanna Mills Music
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SheetMusicPlus
ALICE IN WONDERLAND (a new & original music album)
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.999336 Composed by Dennis A.…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.999336 Composed by Dennis A. Westgate. Children,Contemporary,Musical/Show. Score. 42 pages. Tyne Music #5805791. Published by Tyne Music (A0.999336). ALICE is the 1st in this series of 'Bespoke Music Albums' (https://www.tynemusic.com) I wrote by request for my friends Charlotte & Donna, the Producer/Directors of 'We Are Theatre.(http://www.wearetheatre.co.uk) - Each songbook was composed from their own libretto and based on well known and loved classical children's stories. The songs are based around the main characters of the story. These are the song titles for Alice in Wonderland:-
$14.00
12.81 €
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Piano, Voix
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Dennis A
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ALICE IN WONDERLAND
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Tyne Music
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SheetMusicPlus
The Master Singers of Nuremberg
Piano, Voix
Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erst…
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Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 235\' 0. Schott Music - Digital #Q17852. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG “Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera’s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche’s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ‘magnificent, ornate and ponderous art’ and Wagner’s music in general as being ‘rough and coarse’. This music according to Nietzsche possesses ‘no trace of the fine southern clarity of the sky and nothing of grace’, but instead ‘a cumbersome garb, with a touch of licentious barbarism and solemnity’ and ‘even a certain degree of ungainliness’. Nietzsche’s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott’s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. […] When the saying ‘the music sets the tone’ is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.” (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).
$59.99
54.89 €
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Piano, Voix
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Richard Wagner
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The Master Singers of Nuremberg
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SheetMusicPlus
News Boys of Chicago. Song and Chorus
Piano, Voix
Piano and voice - Digital Download SKU: LV.752 Composed by Lutie St. Clair. Newspap…
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Piano and voice - Digital Download SKU: LV.752 Composed by Lutie St. Clair. Newspaper peddlers, Children, City & town life, Occupations, Heroes. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.752). News Boys of Chicago. Song and Chorus. Music by Lutie St. Clair. Words by Reginald Mowbray. Published 1895 by Temple Music Co., 269 Dearborn St. in Chicago. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Newspaper peddlers, Children, City & town life, Occupations, Heroes. First line reads The Newsboys of Chicago, are greatest in the world.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.48 €
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Piano, Voix
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Lutie St
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News Boys of Chicago. Song and Chorus
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Good News!
By Ruth Elaine Schram. For Two-part Any Combination of Voices, Keyboard. Sacred Anthem. Tr…
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By Ruth Elaine Schram. For Two-part Any Combination of Voices, Keyboard. Sacred Anthem. Transfiguration. Published by Lorenz Publishing - Digital Sheet Music
$2.40
2.2 €
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Ruth Elaine Schram
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Good News!
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
The Joy of Music - Volume 2
Orgue
Organ SKU: HL.8738406 Organ. Arranged by Bish Diane. Organ. Fred Bock Public…
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Organ SKU: HL.8738406 Organ. Arranged by Bish Diane. Organ. Fred Bock Publications. General Worship, Sacred. 40 pages. Fred Bock Music Company #BG0938. Published by Fred Bock Music Company (HL.8738406). ISBN 9780634003592. UPC: 073999384062. 9.0x12.0x0.113 inches.Moderately easy to play, with Diane's distinctive stylings, these selections are suitable for church or home use. Titles include: All Things Bright and Beautiful * Hark! Ten Thousand Harps and Voice * I Will Sing of My Redeemer * A New Name in Glory * On Jordan's Stormy Banks * Savior Like a Shepherd Lead Us * When We All Get to Heaven.
Song List: On Jordan's Stormy Banks All Things Bright and Beautiful Hark! Ten Thousand Harps and Voices (L. Mason) I Will Sing of My Redeemer (J. Mcgranahan) When We All Get to Heaven (E. Wilson) A New Name in Glory (C. Miles) Savior, Like A Shepherd Lead Us (W. Bradbury)
$14.99
13.71 €
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Orgue
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Bish Diane
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The Joy of Music - Volume 2
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Fred Bock Music Company
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SheetMusicPlus
Good news
Piano, Voix
Voice and piano - easy - Digital Download SKU: S9.Q23462 Composed by Traditional. E…
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Voice and piano - easy - Digital Download SKU: S9.Q23462 Composed by Traditional. Edited by Bernd Frank. Arranged by Bernd Frank. This edition: Sheet music. Copyright 2014 Schott Music GmbH & Co. KG, Mainz. Downloadable. 2 pages. Schott Music - Digital #Q23462. Published by Schott Music - Digital (S9.Q23462). English.Digital publication of the piece found in the following print music collection: Spirituals & Gospels for aspiring singers - 33 Songs for high voice and piano.
$2.99
2.74 €
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Piano, Voix
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Traditional
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Bernd Frank
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Good news
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Schott Music - Digital
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SheetMusicPlus
Good news
Piano, Voix
Voice and piano - easy - Digital Download SKU: S9.Q23499 Composed by Traditional. E…
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Voice and piano - easy - Digital Download SKU: S9.Q23499 Composed by Traditional. Edited by Bernd Frank. Arranged by Bernd Frank. This edition: Sheet music. Copyright 2014 Schott Music GmbH & Co. KG, Mainz. Downloadable. 2 pages. Schott Music - Digital #Q23499. Published by Schott Music - Digital (S9.Q23499). English.Digital publication of the piece found in the following print music collection: Spirituals & Gospels for aspiring singers - 33 Songs for low voice and piano.
$2.99
2.74 €
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Piano, Voix
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Traditional
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Bernd Frank
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Good news
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Schott Music - Digital
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SheetMusicPlus
Lady Liberty Shop for Voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.976929 Composed by Sabrina P…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.976929 Composed by Sabrina Pena Young. Broadway,Contemporary,Film/TV,Musical/Show,Opera. Score. 2 pages. Sabrina Peña Young #3430799. Published by Sabrina Peña Young (A0.976929). A moving emotional musical theater piece from the groundbreaking science fiction animated opera Libertaria. Simeon sings to his missing daughter amidst a post-apocalyptic chaos. Arranged for Voice and Piano by award-winning vocal composer. Written for Male Voice and Piano, ideal for Tenor or Baritone soloist. Intermediate/Advanced/Professional level. Emotional and beautiful!Award-winning Cuban-American Composer S. Peña Younghttps://sabrinapenayoung.wordpress.com/Contact Young directly at FacebookFACEBOOK: https://www.facebook.com/newmusiccomposerLIBERTARIA: THE VIRTUAL OPERAhttps://virtualopera.wordpress.com/ ABOUT LIBERTARIA: In a post-USSA apocalyptic world, the young Libertaria escapes from evil geneticists and teams up with her addict father Simeon to defeat the Collective with a ragtag Underground army of cyborgs and misfits. The world’s first machinima opera, Libertaria has been called Groundbreaking by the Palm Beach Arts Paper. A truly dystopian novelization, the Libertaria Chronicles, is now available at Amazon. One of my favorite things about this story is its odd apocalyptic tone and strong sci-fi/fantasy foundation. The dark quality that comes with it is the cherry on top. –FanboysAnonymous.comWHAT FANS ARE SAYING ABOUT THE LIBERTARIA CHRONICLESBetween the book, virtual opera, soundtrack, and all the extras, Young has created a convincing world…a dark dystopian future for you to get lost in. The characters are complex, flawed, and human, and you are never sure what they will do next. Looking forward to the next book in the series!Award-winning Cuban-American composer S Peña Young has a rich history of creating groundbreaking classical music with cutting edge works like the multimedia oratorio Creation, winner of the IAWM New Genre Prize, World Order #5 for percussion and multimedia, and collaborations with artists in Vox Novus 60×60 and Lee Scott’s interactive web opera The Village. In 2014 Young gave a TED Talk on her animated science fiction opera Libertaria, the world’s first machinima opera. Young is the author of the science fiction series The Libertaria Chronicles and Composer Boot Camp 101: 50 Exercises for Educators, Students, and Music Professionals, (available at AMAZON) and is in production for the animated film Spiritus. Young is a sought-after lecturer and writer on music technology, audio engineering, film music, composition/songwriting, film, social media, online collaboration, marketing, and contemporary music and is an advocate for new music.
$6.99
6.4 €
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Piano, Voix
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Sabrina Pena Young
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Lady Liberty Shop for Voice and Piano
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Sabrina Peña Young
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SheetMusicPlus
Absolution for Voice and Piano
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.976927 Composed by Sabrina P…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.976927 Composed by Sabrina Pena Young. Contemporary,Film/TV,Holiday,Musical/Show,Opera. Score. 3 pages. Sabrina Peña Young #3430785. Published by Sabrina Peña Young (A0.976927). Dramatic musical theater work from the groundbreaking 21st century opera and film Libertaria. Written by an award-winning composer. In this excerpt, the addict Simeon laments the loss of his daughter Lucinde to an explosion that was of his doing. Along in the Underground Sewers he sings a bizarre personal reflection of remorse. Quite an unusual but excellent work! Ideal for any intermediate to advanced student, amateur or music professional. For male vocalist, ideal for Tenor or Baritone Voice.Award-winning Cuban-American Composer S. Peña Younghttps://sabrinapenayoung.wordpress.com/Contact Young directly at FacebookFACEBOOK: https://www.facebook.com/newmusiccomposerLIBERTARIA: THE VIRTUAL OPERAhttps://virtualopera.wordpress.com/ ABOUT LIBERTARIA: In a post-USSA apocalyptic world, the young Libertaria escapes from evil geneticists and teams up with her addict father Simeon to defeat the Collective with a ragtag Underground army of cyborgs and misfits. The world’s first machinima opera, Libertaria has been called Groundbreaking by the Palm Beach Arts Paper. A truly dystopian novelization, the Libertaria Chronicles, is now available at Amazon. One of my favorite things about this story is its odd apocalyptic tone and strong sci-fi/fantasy foundation. The dark quality that comes with it is the cherry on top. –FanboysAnonymous.comWHAT FANS ARE SAYING ABOUT THE LIBERTARIA CHRONICLESBetween the book, virtual opera, soundtrack, and all the extras, Young has created a convincing world…a dark dystopian future for you to get lost in. The characters are complex, flawed, and human, and you are never sure what they will do next. Looking forward to the next book in the series!Award-winning Cuban-American composer S Peña Young has a rich history of creating groundbreaking classical music with cutting edge works like the multimedia oratorio Creation, winner of the IAWM New Genre Prize, World Order #5 for percussion and multimedia, and collaborations with artists in Vox Novus 60×60 and Lee Scott’s interactive web opera The Village. In 2014 Young gave a TED Talk on her animated science fiction opera Libertaria, the world’s first machinima opera. Young is the author of the science fiction series The Libertaria Chronicles and Composer Boot Camp 101: 50 Exercises for Educators, Students, and Music Professionals, (available at AMAZON) and is in production for the animated film Spiritus. Young is a sought-after lecturer and writer on music technology, audio engineering, film music, composition/songwriting, film, social media, online collaboration, marketing, and contemporary music and is an advocate for new music.
$6.99
6.4 €
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Piano, Voix
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Sabrina Pena Young
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Absolution for Voice and Piano
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Sabrina Peña Young
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SheetMusicPlus
John, I knew you'd come back tome from The Crucible (Downloadable)
Voix Soprano, Piano
Soprano voice solo, piano - Difficult - Digital Download SKU: MQ.6000-18E Composed …
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Soprano voice solo, piano - Difficult - Digital Download SKU: MQ.6000-18E Composed by Robert Ward. 12 pages. E. C. Schirmer Music Company - Digital #6000-18E. Published by E. C. Schirmer Music Company - Digital (MQ.6000-18E).
$3.00
2.74 €
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Voix Soprano, Piano
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Robert Ward
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John, I knew you'd come back tome from The Crucible
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Goetterdaemmerung
Piano, Voix
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Richard Wagner. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q17774. Published by Schott Music - Digital
German.<br> <br> An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages (German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. GÖTTERDÄMMERUNG This piano reduction corresponds to the edition of the score of Götterdämmerung contained in the complete critical edition of the musical works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 13, I-III, edited by Hartmut Fladt, Mainz 1980ff. [Richard Wagner, Complete Works]). The first printed edition of the score was published by B. Schott’s Söhne, Mainz (plate number 21953) in the summer of 1876, but was supervised by the conductor Hermann Levi and not by Wagner himself. This edition displays deviations from the autograph which cannot be considered as adhering to Wagner’s intentions. For this reason, the critical edition is largely based on Wagner’s autograph score. Individual changes made during the first performances of the work in Bayreuth in 1876 have been identified in the footnotes.<br> <br> 2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Tristan und Isolde Die Meistersinger von Nürnberg Parsifal<br> <br> Picc. · 3 · 3 · Engl. Hr. · 3 · Bassklar. · 3 - 8 (5. u. 7. auch Tenortb., 6. u. 8. auch Basstb.) · 3 · Basstrp. · 4 (4. auch Kb.-Pos.) · Kbtb. - P. S. (Glsp. · Trgl. · Beckenpaar · Tamt. · Rührtr.) (2 Spieler) - 6 Hfn. - Str. (16 · 16 · 12 · 12 · 8)<br> Auf der Bühne: Horn in f - Hörner in C - Stierhörner in C, Des und D - 4 Hfn.
$47.99
43.91 €
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Piano, Voix
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Richard Wagner (1813-1883)
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Goetterdaemmerung
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Schott Music - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
21.95 €
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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
New Slovak Songs
Piano, Voix
Voice and piano - Digital Download SKU: S9.Q42934 Composed by Bohuslav Martinu. Thi…
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Voice and piano - Digital Download SKU: S9.Q42934 Composed by Bohuslav Martinu. This edition: Sheet music. Downloadable. Schott Music - Digital #Q42934. Published by Schott Music - Digital (S9.Q42934). Czech.
$27.99
25.61 €
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Piano, Voix
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Bohuslav Martinu
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New Slovak Songs
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Schott Music - Digital
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SheetMusicPlus
Were You There When They Crucified My Lord? [G Major High Voice]
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1380568 By Stacey Plays Hymn…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1380568 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Easter,Praise & Worship,Religious,Sacred. Score. 6 pages. Anastace #965345. Published by Anastace (A0.1380568). Here is the full piano and vocal version of Were You There When They Crucified My Lord? as heard on my YouTube channel. This version is in G major to match a very high soprano vocal range - perfect for a soloist to showcase the soaring high notes. This beautiful Good Friday special music arrangement is a perfect pairing of this classic, contemplative melody with a subdued, richly voiced piano accompaniment to showcase the deep meaning and solemnity of this Holy Week hymn. This arrangement works well as a solo or choral anthem for any Easter service, particularly for Good Friday or Maundy Thursday. Also available, by searching Stacey Plays Hymns and the song title on this site, are the following versions:Full piano and vocal arrangement in C major to match the original recording Full piano and vocal arrangement in G Major for low voicesFull piano and vocal arrangement in E Flat Major for a classic soprano rangeLead sheet versionSolo piano version for a prelude/postlude, or communion interludeFor other formats including large print, guitar, or extended choral harmony versions, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one church service with under 300 people, with proper attribution and credit in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!
$5.00
4.57 €
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Piano, Voix
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Stacey Plays Hymns
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Anastace
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Were You There When They Crucified My Lord? [G Major High Voice]
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Anastace
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SheetMusicPlus
Royal Winter Music
Guitare
Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Compo…
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Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Composed by Hans Werner Henze (1926-). This edition: Sheet music. Guitar Archive. Downloadable. Duration 25 minutes. Schott Music - Digital #Q4978. Published by Schott Music - Digital
My idea of developing music from Richard of Gloucester's monologue 'Now is the winter of our discontent', and of generating more music from that material, was conceived during the 1960s. Ten years later it took a more concrete form, when Julian Bream suggested to me that I should write a substanial new guitar work for him. More time went by, and only having finished 'We Come to the River' could I begin to realise our plan. Then began a collaboration with the instrumentalist that went through various phases, from which I gained a more profound knowledge of the technicalities and of the sound-world of the guitar. I would even go so far as to say that this collaboration gave me a new concept of how to write for an instrument with a rich tradition. The guitar is a 'knowing' or 'knowledgeable' instrument, with many limitations but also many unexplored spaces and depths within these limits. It possesses a richness of sound capable of embracing everything one might find in a gigantic contemporary orchestra. but one has to start from silence in order to notice this: one has to pause, and completely exclude noise.<br> The dramatis personae of this piece enter through the sound of the guitar as if it were curtain. Through masks, voices and gestures, they speak to us of great passion, of tenderness, sadness and comedy: strange events in people's lives. Into this, the whispering voices of spirits are mingled. The epilogue is spoken by Oberon, pacified and reconciled, as though Nature had been subjected to Man.<br> - Hans Werner Henze.
$19.99
18.29 €
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Guitare
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Hans Werner Henze
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Royal Winter Music
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Schott Music - Digital
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SheetMusicPlus
Don't Nobody Bring Me Bad News
Piano, Voix
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0006972 Composed by Charlie Sma…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0006972 Composed by Charlie Smalls. Broadway. 4 pages. Alfred Music - Digital Sheet Music #00-PS-0006972. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0006972).
$3.99
3.65 €
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Piano, Voix
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Charlie Smalls
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Don't Nobody Bring Me Bad News
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
If Only She Knew
Piano, Voix
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0005138 By Michelle Branch. By …
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0005138 By Michelle Branch. By Michelle Branch. Pop/Rock. 6 pages. Alfred Music - Digital Sheet Music #00-PS-0005138. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0005138).
$3.99
3.65 €
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Piano, Voix
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Michelle Branch
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If Only She Knew
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Brand New Day
Piano, Voix
Piano/Vocal/Chords, Bass Guitar - Intermediate - Digital Download Composed by Carolin…
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Piano/Vocal/Chords, Bass Guitar - Intermediate - Digital Download Composed by Caroline Willshire. Christian, Contemporary Christian, Gospel, Praise & Worship, General Worship. Lead Sheet. 4 pages. Published by Springfield Music
I wrote this song to help people see each brand new day. This is a song for piano and vocal
$1.99
1.82 €
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Piano, Voix
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Caroline Willshire
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Worship, General Worship
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Brand New Day
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Springfield 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 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
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