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TRI ET FILTRES
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HARPE
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Note4Piano
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Non classifié
4004
PIANO & CLAVIERS
Piano seul
5666
Piano, Voix
4334
Piano Facile
709
Piano, Voix et Guitare
467
Instruments en Do
177
Orgue
120
1 Piano, 4 mains
107
Accordéon
87
Piano Trio: piano, violon, violoncelle
60
Piano grosses notes
50
Accompagnement Piano
47
Piano Quatuor: piano, 2 violons, violoncelle
37
Piano Quatuor: piano, violon, alto, violoncelle
13
2 Pianos, 4 mains
13
Piano Quintette: piano, 2 violons, alto, violoncelle
11
Accordéon, Voix
11
Instrument seul et Orgue
7
Orgue, Piano (duo)
7
Piano (partie séparée)
5
Orgue, Trompette (duo)
3
2 Pianos, 8 mains
3
Clavier
3
Ligne De Mélodie, Piano
2
Fake Book
2
Tous Les Instruments
1
1 Piano, 6 mains
1
Ensemble de Pianos
1
Orgue, Voix
1
Clavecin
1
Orgue et Orchestre
1
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GUITARES
Guitare notes et tablatures
319
Mandoline
217
Guitare
208
Ligne De Mélodie, (Paroles) et Accords
135
Ukulele
89
2 Guitares (duo)
32
Dulcimer
20
4 Guitares (Quatuor)
18
Basse electrique
16
Guitare (partie séparée)
14
Piano, Guitare (duo)
12
Banjo
10
3 Guitares (trio)
8
Ensemble de guitares
5
Guitare, Flûte, Clarinette
2
Paroles et Accords
1
Cithare
1
Mandoline, Guitare (duo)
1
Instrumentations suivantes
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VOIX
Chorale SATB
1535
Chorale 2 parties
675
Chorale 3 parties
467
Voix duo, Piano
259
Chorale TTBB
193
Chorale Unison
158
Voix duo
113
Chorale SSAA
90
Voix Soprano, Piano
62
Voix Tenor, Piano
57
Voix Alto, Piano
57
Voix Baryton, Piano
31
Voix haute
17
Voix moyenne, Piano
8
Chorale
7
Voix seule
4
Chorale SSAATTBB
3
Voix basse
3
Voix Tenor
3
Voix basse, Piano
2
Voix Soprano
2
Voix, Guitare
2
Chorale SSATB
1
Voix Mezzo-Soprano, Piano
1
Chorale SSAB, Piano
1
Chorale SAATB A Cappella
1
Soli, choeur mixte et accompagnement
1
Voix Baryton
1
Chorale SSAATB
1
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VENTS
Flûte traversière et Piano
400
Quatuor de Saxophones: 4 saxophones
398
Flûte, Hautbois, Clarinette, Basson
330
Saxophone Alto et Piano
327
Clarinette et Piano
303
Saxophone Tenor et Piano
286
Saxophone Soprano et Piano
273
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
263
Hautbois, Piano (duo)
261
2 Saxophones (duo)
259
Harmonica
237
Quatuor de Clarinettes: 4 clarinettes
194
Flûte à bec Alto
188
Flûte traversière
182
Flûte à bec Soprano
178
Saxophone Alto
165
Clarinette
164
Quintette de Saxophone: 5 saxophones
157
Saxophone (partie séparée)
154
2 Flûtes traversières (duo)
142
2 Clarinettes (duo)
125
Saxophone Tenor
120
Ensemble de Clarinettes
89
Saxophone Baryton, Piano
88
Flûte, Clarinette (duo)
87
Hautbois (partie séparée)
77
Quatuor de Flûtes : 4 flûtes
77
Ensemble de saxophones
62
3 Saxophones (trio)
61
Clarinette (partie séparée)
57
Saxophone Soprano
52
Saxophone, Clarinette (duo)
49
Hautbois
49
Ensemble de Flûtes
41
Clarinette, Violon (duo)
39
2 Hautbois (duo)
38
Flute (partie séparée)
37
Trio de Flûtes: 3 flûtes
37
Cor anglais, Piano
35
3 Clarinettes (trio)
34
Clarinette, Trompette (duo)
33
Hautbois, Basson (duo)
30
2 Flûte à bec (duo)
29
Cor Anglais
27
Quintette de Clarinettes: 5 clarinettes
27
Flûte, Violon
27
Ensemble De Flûte à bec
25
Clarinette Basse, Piano
25
Flûte, Violon, Piano
24
Hautbois, Clarinette (duo)
23
Quatuor de Flûtes à bec
22
Flûte, Hautbois, Clarinette (trio)
21
Flûte, Saxophone (duo)
21
Flûte et Guitare
20
Hautbois, Flûte
18
Saxophone Baryton
18
Clarinette et Alto
16
Flûte, Trompette (duo)
16
Flûte, Alto (duo)
15
Quintette de Flûte : 5 flûtes
15
Clarinette, Basson (duo)
13
Hautbois, Clarinette, Basson (trio d'anches)
13
Instruments en Mib
11
5 Flûtes à bec
10
Flûte, Violoncelle
10
2 Flûtes traversières, Piano
10
Clarinette, Guitare (duo)
9
3 Flûtes à bec (trio)
9
Flûte, Clarinette et Basson
8
Flûte à bec Alto, Piano
8
2 Saxophones, Piano
7
Clarinette, Violoncelle (duo)
7
Flûte, Hautbois (duo)
7
Flûte, Alto et Piano
6
2 Clarinettes, Piano
6
Flûte, Basson et Piano
6
Flûte, Violon et Violoncelle
5
Flûte, Hautbois, Basson
5
Hautbois, Violoncelle
5
Flûte à Bec, Piano
5
Flûte, Hautbois, Piano (trio)
5
Flûte, Clarinette, Piano (trio)
5
Flûte à bec, Guitare (duo)
5
Flûte, Trombone (duo)
5
Piccolo, Piano
4
Flûte à bec Tenor
4
Hautbois, Guitare (duo)
4
Clarinette, Violoncelle, Piano (trio)
4
Piccolo
4
Flûte à Bec
4
Flûte à bec Soprano, Piano
3
2 Clarinettes, Basson
3
Clarinette, Harpe (duo)
3
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
3
Flûte, Violoncelle, Piano (trio)
3
Saxophone et Orgue
3
Flûte, trombone et piano
3
Flûte, Violon, Violoncelle et Piano
3
2 Flûtes à bec, Piano
2
Hautbois, violon (duo)
2
Saxophone
2
Hautbois, Harpe
2
Clarinette Basse
2
Flûte, Clarinette, Cor, Basson (Quartet)
2
Cornemuse
2
2 Flûtes traversières, Harpe
1
Clarinette, trompette et piano
1
Flûte de Pan
1
Clarinette, Trombone (duo)
1
Flûte, Violoncelle, Guitare
1
2 Cors Anglais Et Pianoforte
1
Flûte irlandaise
1
Hautbois et alto (duo)
1
Clarinette, Orgue
1
Clarinette, Alto et Piano (trio)
1
Flûte à bec Alto, Basse continue
1
Saxophone et Guitare
1
Hautbois, Clarinette et Piano (Trio)
1
4 Hautbois
1
Cor anglais et Harpe (duo)
1
2 Hautbois, 2 Cors et 2 Bassons
1
Clarinette, Basson, Piano (trio)
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
352
Trombone et Piano
322
Trompette, Piano
277
Trompette
239
Quatuor de Cuivres : 2 trompettes, trombone, tuba
227
Cor et Piano
199
Trombone
143
Quatuor de Cuivres: 2 trompettes, Cor, trombone
136
Cor
112
2 Trompettes (duo)
98
2 Trombones (duo)
86
Trompette (partie séparée)
79
Trombone (partie séparée)
70
Tuba et Piano
60
2 Cors (duo)
52
Trompette, Trombone (duo)
48
Euphonium, Piano (duo)
48
Tuba
41
Quatuor de Cuivres
37
Trompette, Cor (duo)
35
Cor anglais, Piano
35
Trompette, Saxophone (duo)
31
Cor Anglais
27
Quatuor de cuivres: 4 trombones
24
Ensemble de Trombones
19
Quatuor de cuivres: 4 cors
18
Bass Clef Instruments
18
Cor (partie séparée)
17
Quatuor de cuivres: 2 trompettes, 2 trombones
16
Instruments en Sib
14
Ensemble de Trompettes
14
2 Euphoniums et 2 Tubas
14
Tuba (partie séparée)
13
Quatuor de cuivres: 4 trompettes
13
3 Trompettes (trio)
11
Trio de Cuivres
10
4 Tubas
10
2 Tubas (duo)
9
3 Trombones (trio)
7
Trompette, Violoncelle et Piano
6
Euphonium
6
Trombone, Cor (duo)
5
Ensemble de Cors
5
Trombone basse
4
Cor, Tuba (duo)
4
2 Euphoniums (duo)
4
2 Trompettes, Clavier (piano ou orgue)
3
Trombone basse et Piano
3
Trombone, Orgue
3
Trompette, Tuba (duo)
2
Cor et Harpe
2
Tuba et Orgue
2
Trompette, Harpe
2
Trombone, Tuba (duo)
2
3 Tubas (trio)
2
Euphonium, Tuba (duo)
2
Ensemble de Tubas
1
2 Cors Anglais Et Pianoforte
1
Tuba ou Euphonium ou Saxhorn
1
Trompette, Violoncelle (duo)
1
Cor anglais et Harpe (duo)
1
Trombone et orchestre
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1083
Violon et Piano
510
Violoncelle, Piano
376
Violon
345
Alto, Piano
318
Violon, Violoncelle (duo)
291
Trio à Cordes: violon, alto, violoncelle
288
Violoncelle
209
Alto seul
139
2 Violons (duo)
108
2 Violoncelles (duo)
102
Contre Basse
89
Violon (partie séparée)
83
Harpe
80
Violon, Alto (duo)
78
Trio à Cordes: 2 violons, violoncelle
78
Piano Trio: Violon, Alto, Piano
67
2 Altos (duo)
62
Quintette à cordes: 2 violons, alto, violoncelle, basse
55
Contrebasse, Piano (duo)
51
Alto (partie séparée)
51
Contrebasse (partie séparée)
41
Violon, Guitare (duo)
29
4 Violoncelles
27
Trio à cordes: 3 violins
27
Alto, Violoncelle (duo)
19
Violoncelle (partie séparée)
15
Quatuor à cordes: 4 violons
13
Violon, Basson (duo)
13
Trio à Cordes: 3 violoncelles
12
2 Harpes (duo)
11
Harpe, Flûte (duo)
9
Ensemble de Violons
8
Trio à cordes: 3 altos
8
Violoncelle , Guitare (duo)
8
Alto, Guitare (duo)
7
Quatuor à cordes : 4 altos
7
Quintette à cordes: 2 violons, 2 altos, violoncelle
6
Violoncelle, Contrebasse (duo)
5
Ensemble d'Altos
5
Autoharp
4
Violon, Clarinette, Piano (trio)
4
Trio à Cordes: 2 violons, alto
3
3 Harpes
3
2 Contrebasses (duo)
3
2 Violons, Piano
3
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Harpe, Violon (duo)
2
Alto et Harpe
2
Violon, Basse continue
1
4 Contrebasses
1
Violoncelle, Orgue
1
Ensemble de Violoncelles
1
Harpe et Orgue
1
2 Violoncelles, Piano
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
1711
Orchestre à Cordes
405
Orchestre
229
Ensemble de cuivres
206
Fanfare
199
Ensemble Jazz
129
Cloches
75
Orchestre de chambre
51
Percussion (partie séparée)
35
Jazz combo
35
Batterie
30
Ensemble de Percussions
14
Batterie (partie séparée)
7
Marimba
5
3 Marimbas
4
Quintette de Cuivres: autres combinaisons
3
Xylophone, Piano
2
Vibraphone et Marimba
2
Instrumentation Flexible
1
Piano et Orchestre
1
Big band
1
2 Marimbas
1
Percussion
1
Xylophone
1
Vibraphone
1
Timbales (partie séparée)
1
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
Popular Music
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Thank You For The Music
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.809392 By ABBA. By Be…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.809392 By ABBA. By Benny Andersson and Bjorn Ulvaeus. Arranged by Unimusic Group. Contemporary. Score. 10 pages. Unimusic Academy (Academia Unimusica) #6013531. Published by Unimusic Academy (Academia Unimusica) (A0.809392). ABBA (/ˈæbÉ™/, Swedish pronunciation: [ˈabËa]) is a Swedish pop supergroup formed in Stockholm in 1972 by Agnetha Fältskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid Lyngstad. The group's name is an acronym of the first letters of their first names. They became one of the most commercially successful acts in the history of popular music, topping the charts worldwide from 1974 to 1982. ABBA won the Eurovision Song Contest 1974, giving Sweden its first triumph in the contest. They are the most successful group to have taken part in the competition.
$8.00
7.31 €
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Piano, Voix et Guitare
#
ABBA
#
Unimusic Group
#
Thank You For The Music
#
Unimusic Academy
#
SheetMusicPlus
Modern Piano
Piano Facile
Piano - easy to intermediate - Digital Download 20th Century, Jazz, Blues, Pop, Cross…
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Piano - easy to intermediate - Digital Download 20th Century, Jazz, Blues, Pop, Crossover, New Age, Meditation Music. This edition: Sheet music. Piano, pop, anthology. Pianissimo. Downloadable. Schott Music - Digital #Q46666. Published by Schott Music - Digital
This book Modern Piano contains 90 easy original pieces from the 20th and 21st centuries. The pieces selected display a great variety of styles including New Music, neoclassicism, modern dances, jazz, blues, pop, rock, musical studies, meditative music, New Age music and more besides: a colourful range of different styles, sometimes blurring the distinction between classical and popular music in 'crossover' pieces that bridge the gap between different musical worlds.<br> <br> The little pieces selected invite us to go on a musical journey of discovery, introducing new experiences using modern sounds and rhythms. All these pieces are suitable for tuition purposes, auditions, examinations and school music competitions - or just as stimulating repertoire for pianists interested in music.This book Modern Piano contains 90 easy original pieces from the 20th and 21st centuries. The pieces selected display a great variety of styles including New Music, neoclassicism, modern dances, jazz, blues, pop, rock, musical studies, meditative music, New Age music and more besides: a colourful range of different styles, sometimes blurring the distinction between classical and popular music in 'crossover' pieces that bridge the gap between different musical worlds.<br> <br> The little pieces selected invite us to go on a musical journey of discovery, introducing new experiences using modern sounds and rhythms. All these pieces are suitable for tuition purposes, auditions, examinations and school music competitions - or just as stimulating repertoire for pianists interested in music.
$17.99
16.45 €
#
Piano Facile
#
Modern Piano
#
Schott Music - Digital
#
SheetMusicPlus
Let's Swing, Mr. Diabelli!
1 Piano, 4 mains
Piano (4 hands) - easy - Digital Download 14 Jazzy Pieces for Piano Duet. Composed by…
(+)
Piano (4 hands) - easy - Digital Download 14 Jazzy Pieces for Piano Duet. Composed by Uwe Korn and Anton Diabelli (1781- 1858). This edition: Sheet music. Schott Popular Music. Downloadable. Schott Music - Digital #Q54766. Published by Schott Music - Digital
The success story of Diabelli's 'Melodic Exercises' Op. 149 for piano duet has lasted now for almost 200 years. They are beautiful melodies covering a range of only five tones, perfectly suitable for beginners, with refined and brilliantly designed accompanying settings in the Secondo part. To this day, the pieces are very popular among pupils, teachers and music lovers. Diabelli, born in 1781, was not only a respected piano teacher and composer in Vienna, but also a busy music publisher and friend of Ludwig van Beethoven who jokingly called him 'my diabolus' from time to time. Sometimes he sent themes composed by himself to the then famous composers, asking them to write and return to him some variations on these themes. This led to the creation of the famous Diabelli Variations by Beethoven, a demanding piano work which is performed in the concert halls all over the world still today.<br> Hopefully, Mr Diabelli .would not mind some of his wonderful five-tone melodies .being transported into the world of swing, samba and other forms of expression, as has been .done .in this volume. Apart from some arranged melodies from Opus 149, this volume also contains a few newly arranged pieces, all of them inspired by Diabelli's idea to make music with five fingers as varied as possible. The .original arrangement of the keys has been maintained. New .inspiration for piano lessons and four-handed piano playing!The success story of Diabelli's 'Melodic Exercises' Op. 149 for piano duet has lasted now for almost 200 years. They are beautiful melodies covering a range of only five tones, perfectly suitable for beginners, with refined and brilliantly designed accompanying settings in the Secondo part. To this day, the pieces are very popular among pupils, teachers and music lovers. Diabelli, born in 1781, was not only a respected piano teacher and composer in Vienna, but also a busy music publisher and friend of Ludwig van Beethoven who jokingly called him 'my diabolus' from time to time. Sometimes he sent themes composed by himself to the then famous composers, asking them to write and return to him some variations on these themes. This led to the creation of the famous Diabelli Variations by Beethoven, a demanding piano work which is performed in the concert halls all over the world still today.<br> Hopefully, Mr Diabelli .would not mind some of his wonderful five-tone melodies .being transported into the world of swing, samba and other forms of expression, as has been .done .in this volume. Apart from some arranged melodies from Opus 149, this volume also contains a few newly arranged pieces, all of them inspired by Diabelli's idea to make music with five fingers as varied as possible. The .original arrangement of the keys has been maintained. New .inspiration for piano lessons and four-handed piano playing!
$15.99
14.62 €
#
1 Piano, 4 mains
#
Uwe Korn and Anton Diabelli
#
Let's Swing, Mr. Diabelli!
#
Schott Music - Digital
#
SheetMusicPlus
Jazz for Two
1 Piano, 4 mains
Piano (4 hands) - very easy - Digital Download 15 Easy Jazz and Pop Pieces. Composed …
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Piano (4 hands) - very easy - Digital Download 15 Easy Jazz and Pop Pieces. Composed by Mike Schoenmehl. This edition: Sheet music. Schott Popular Music. Downloadable. Schott Music - Digital #Q3022. Published by Schott Music - Digital
Adding to his two successful editions 'Little Stories in Jazz' (ED 7186) and 'Piano Studies in Pop' (ED 7304), Mike Schoenmehl wrote the collection 'Jazz for Two' for piano duet. Originally published in two volumes, the work was reedited in one volume in our new edition. Schoenmehl's commitment in the field of education to make rock, pop and jazz music accessible to pupils in a fun way shows here too: rhythm, harmony, melody, form and phrasing of popular music shall be imparted on the pupils by means of these fifteen entertaining jazz and pop pieces. Some of the pieces are even accompanied by exemplary exercises and educational remarks. Illustrated with funny drawings by Marcus Reinheimer.Adding to his two successful editions 'Little Stories in Jazz' (ED 7186) and 'Piano Studies in Pop' (ED 7304), Mike Schoenmehl wrote the collection 'Jazz for Two' for piano duet. Originally published in two volumes, the work was reedited in one volume in our new edition. Schoenmehl's commitment in the field of education to make rock, pop and jazz music accessible to pupils in a fun way shows here too: rhythm, harmony, melody, form and phrasing of popular music shall be imparted on the pupils by means of these fifteen entertaining jazz and pop pieces. Some of the pieces are even accompanied by exemplary exercises and educational remarks. Illustrated with funny drawings by Marcus Reinheimer.
$13.99
12.79 €
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1 Piano, 4 mains
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Mike Schoenmehl
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Jazz for Two
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Schott Music - Digital
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SheetMusicPlus
Pop for Two
1 Piano, 4 mains
Piano (4 hands) - easy - Digital Download 15 Pop Pieces. Composed by Carsten Gerlitz.…
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Piano (4 hands) - easy - Digital Download 15 Pop Pieces. Composed by Carsten Gerlitz. This edition: Sheet music. Schott Popular Music. Downloadable. Schott Music - Digital #Q11898. Published by Schott Music - Digital
This volume contains the latest compositions by Carsten Gerlitz, the author of the popular Schott Piano Lounge series: 15 expressive and catchy, groovy and easy-to-play pop songs for piano duet. What makes these pieces special is the fact that the primo part not only contains the melody but also adds a pinch of jazz to the harmonies.This volume contains the latest compositions by Carsten Gerlitz, the author of the popular Schott Piano Lounge series: 15 expressive and catchy, groovy and easy-to-play pop songs for piano duet. What makes these pieces special is the fact that the primo part not only contains the melody but also adds a pinch of jazz to the harmonies.
$13.99
12.79 €
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1 Piano, 4 mains
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Carsten Gerlitz
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Pop for Two
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Schott Music - Digital
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SheetMusicPlus
Jazz Sonata
Piano seul
Piano - intermediate - Digital Download Composed by Eduard Puetz. This edition: Sheet…
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Piano - intermediate - Digital Download Composed by Eduard Puetz. This edition: Sheet music. Downloadable. Schott Music - Digital #Q22792. Published by Schott Music - Digital
The nature of jazz has its roots in improvisation. The Jazz Sonata contains written-out pieces which correspond with improvised figures and formulae of jazz, while at the same time combining specific technical practice material with formal structures borrowed from 'art music'. With these features, the pieces are intended not only for practising jazz musicians but, perhaps even more-for pianists and teachers who, to complement their involvement with popular music, are looking for information and connections with jazz and its practice methods. The pieces are valid as individual pieces for teaching purposes or for use in a programme.The nature of jazz has its roots in improvisation. The Jazz Sonata contains written-out pieces which correspond with improvised figures and formulae of jazz, while at the same time combining specific technical practice material with formal structures borrowed from 'art music'. With these features, the pieces are intended not only for practising jazz musicians but, perhaps even more-for pianists and teachers who, to complement their involvement with popular music, are looking for information and connections with jazz and its practice methods. The pieces are valid as individual pieces for teaching purposes or for use in a programme.
$17.99
16.45 €
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Piano seul
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Eduard Puetz
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Jazz Sonata
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Schott Music - Digital
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SheetMusicPlus
O Fortuna
Piano seul
Piano - intermediate - Digital Download From Carmina Burana. Composed by Carl Orff (1…
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Piano - intermediate - Digital Download From Carmina Burana. Composed by Carl Orff (1895-1982). Arranged by Hermann Regner. This edition: single sheet. Zeitgenossiche Musik, 20. Jahrhundert, Carmina Burana. Edition Schott - Single Edition. Downloadable. Schott Music - Digital #Q15377. Published by Schott Music - Digital
One of the best-known and most popular musical pieces of the 20th century in an easily playable piano arrangement by the Orff pupil Hermann Regner. A fine opportunity to become better acquainted with the piece by playing it.One of the best-known and most popular musical pieces of the 20th century in an easily playable piano arrangement by the Orff pupil Hermann Regner. A fine opportunity to become better acquainted with the piece by playing it.
$4.99
4.56 €
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Piano seul
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Hermann Regner
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O Fortuna
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Schott Music - Digital
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SheetMusicPlus
Gaúcho - Corta Jaca (Brazilian Music)
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Digital Download SKU: A0.508952 Composed by Chiquin…
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String Quartet String Quartet - Digital Download SKU: A0.508952 Composed by Chiquinha Gonzaga. Arranged by Renato Esteves. Multicultural,World. Score and parts. 16 pages. Published by Renato Esteves (A0.508952). The famous Corta-jaca, the name with which the Gaucho tango became popular, is one of the most recorded and known songs by Chiquinha Gonzaga, alongside Ó abre alas, Lua Branca and Atraente. He was born on the stages of musical theaters, where he was danced in the final scene of the burlesque operetta of national customs Zizinha Maxixe, imitated from French by an anonymous author, performed at Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa ), anonymous author of the play, ended up putting verses in Corta-jaca's music, helping to popularize it, especially after its version was recorded on disk by the duo Os Geraldos. Throughout history, Corta-jaca attended other stages and repertoires: coffee-singers, beer-beauties, choro circles… But it was at the Palácio do Catete, in 1914, that it reached its glory. Performed on the guitar by First Lady Nair de Teffé, it caused political scandal and ended up calling the administration Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa delivered from the gallery. When inquiring what the cut-jaca that he had heard so much about is, he concludes: “The lowest, the most foul, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions, the cut-jaca is performed with all the honors of Wagner's music, and we don't want the conscience of this country to revolt, our faces redden and the youth to laugh!†Never before in the history of Brazil has eminently popular music been performed in the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca became a classic of the great repertoire of Brazilian instrumental music, deserving recordings, among others, by Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, TurÃbio Santos, numerous bands and some sung versions. It was also written by the conductor for singing and piano and for a small orchestra: oboe, viola, timpani, horns (fá), bassoon. Edinha Diniz, 2011.
$20.00
18.28 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Chiquinha Gonzaga
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Renato Esteves
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Gaúcho - Corta Jaca
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Renato Esteves
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SheetMusicPlus
Ino Populare a Pio IX P.M
Piano seul
Piano - Digital Download SKU: LV.10245 Portraits. Lester S. Levy Collection. 3 page…
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Piano - Digital Download SKU: LV.10245 Portraits. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV.10245). Ino Populare a Pio IX P.M. Composta del Maestro Magazzari. Published [n.d.] by A. Cranz in Amburgo. Composition of sectional with piano instrumentation. Subject headings for this piece include Portraits. 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 seul
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Ino Populare a Pio IX P.M
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Classical Music for Children
Violon et Piano
Violin and piano - very easy to easy - Digital Download 25 Easy Pieces. This edition: …
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Violin and piano - very easy to easy - Digital Download 25 Easy Pieces. This edition: Sheet music. Barock, Klassik, Romantik. Classical Music for Children. Downloadable. Schott Music - Digital #Q25349. Published by Schott Music - Digital
Item Number: S9.Q25349<br> <br> 25 easy pieces from the Baroque, Classical and Romantic eras, playable in the first three finger patterns in the first position, for violin pupils from the second year of learning. Apart from lesser known works, this edition also contains many popular pieces, such as themes from Vivaldi's Four Seasons, Handel's Fireworks Music and Water Music, Mozart's Magic Flute or Beethoven's Symphony No. 9. This volume's intention is to grant access to classical masterpieces of concert literature with the help of such easy arrangements and spread the joy of classical music. A treasure trove for auditions at schools and music schools.Item Number: S9.Q25349<br> <br> 25 easy pieces from the Baroque, Classical and Romantic eras, playable in the first three finger patterns in the first position, for violin pupils from the second year of learning. Apart from lesser known works, this edition also contains many popular pieces, such as themes from Vivaldi's Four Seasons, Handel's Fireworks Music and Water Music, Mozart's Magic Flute or Beethoven's Symphony No. 9. This volume's intention is to grant access to classical masterpieces of concert literature with the help of such easy arrangements and spread the joy of classical music. A treasure trove for auditions at schools and music schools.
$11.99
10.96 €
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Violon et Piano
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Classical Music for Children
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Schott Music - Digital
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SheetMusicPlus
Easy Baroque Piano Music
Piano Facile
Piano - easy - Digital Download Expanded edition. This edition: Sheet music. Barock, …
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Piano - easy - Digital Download Expanded edition. This edition: Sheet music. Barock, Piano, Sammlung. The European Piano Method. Downloadable. Schott Music - Digital #Q15826. Published by Schott Music - Digital
This popular volume has now been expanded to 31 pages.<br> As well as easy dances by Bach and Handel, this selection includes pieces by French, Italian and English baroque masters. Pupils will experience an uncomplicated first acquaintance with the polyphonic structure of baroque music. The ornaments are written out in full, in each case keeping within the technical boundaries of this level of development.This popular volume has now been expanded to 31 pages.<br> As well as easy dances by Bach and Handel, this selection includes pieces by French, Italian and English baroque masters. Pupils will experience an uncomplicated first acquaintance with the polyphonic structure of baroque music. The ornaments are written out in full, in each case keeping within the technical boundaries of this level of development.
$12.99
11.88 €
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Piano Facile
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Easy Baroque Piano Music
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Schott Music - Digital
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SheetMusicPlus
La Musicale. Selected Songs for Concert and Parlor. For You
Piano, Voix
Piano and voice - Digital Download SKU: LV.10696 Composed by H. Trotere. Courtship,…
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Piano and voice - Digital Download SKU: LV.10696 Composed by H. Trotere. Courtship, Death, War, Soldiers, Convents, Grief. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.10696). La Musicale. Selected Songs for Concert and Parlor. For You. Words by Clifton Bingham. Music by H. Trotere. Published [n.d.] by White-Smith Music Publishing Co., 32 West St., cor. Mason in Boston. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Courtship, Death, War, Soldiers, Convents, Grief. First line reads Long years ago, in old Madrid, where softly sighs of love the light guitar.. 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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H
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La Musicale. Selected Songs for Concert and Parlor. For You
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
California Gold Fever Galop. Burlesque Musicale
Piano seul
Piano - Digital Download SKU: LV.6622 Composed by Maurice Strakosch. Lester S. Levy…
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Piano - Digital Download SKU: LV.6622 Composed by Maurice Strakosch. Lester S. Levy Collection. 6 pages. Published by Johns Hopkins University Sheridan Libraries (LV.6622). California Gold Fever Galop. Burlesque Musicale. par Maurice Strakosch. Published 1849 by Peters, Webb & Co. in Louisville. Composition of sectional with piano instrumentation. 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 seul
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Maurice Strakosch
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California Gold Fever Galop. Burlesque Musicale
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Ijexá Rhythm (Brazilian music on percussion)
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.513413 By Marcelo Borba. By Marce…
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Concert Band - Level 2 - Digital Download SKU: A0.513413 By Marcelo Borba. By Marcelo Barros de Borba. Arranged by Marcelo Borba. Country,Latin,Patriotic,Standards,Traditional. Score and Parts. 2 pages. Marcelo Borba #124181. Published by Marcelo Borba (A0.513413). The preciousness of Brazilian music can be appreciated in this arrangement on the Ijexá rhythm. A small 4-bar Looping for percussion practice. In this arrangement the following percussion instruments are used: Agogô, Afoxé, Atabaque and Alfaia. You can listen to the sound result on the audio available for free. Ijexá is available in full version and with its individual parts.The Ijexá rhythm is a musical form originating in Afro-Brazilian culture, specifically within the traditions of the Jeje people from the former Kingdom of Dahomey (now Benin). Also known as Jexá, Jeje, or Ijeji, Ijexá is often associated with Candomblé, an Afro-Brazilian religion.The history of the Ijexá rhythm dates back to the period of slavery in Brazil when Africans of Jeje ethnicity were brought to the country as slaves. They brought with them their culture, religious traditions, and, of course, their musical expressions. Ijexá is one of the musical manifestations of these people, which developed primarily in the Northeast and Southeast regions of Brazil.The Ijexá rhythm is characterized by a steady beat and a specific rhythmic pattern. It is played in binary meter, with emphasis on the second beat. Instruments used in the execution of Ijexá include atabaques (drums), agogô, xequerê, among others. The lyrics of the songs often address themes related to religion, ancestry, and Afro-Brazilian culture.Over time, Ijexá transcended its original religious context and became incorporated into other Brazilian musical genres, such as popular music, MPB (Música Popular Brasileira), and samba. Its influence can be heard in various compositions, including those by renowned Brazilian artists.The Ijexá rhythm carries a strong cultural and symbolic significance, representing the resistance and preservation of African traditions in Brazil. It is a musical expression that remains alive and present in Brazilian culture, contributing to the diversity and richness of the country's musical heritage.More: https://musicaead.com.br/ijexa-historia-e-cultura-popular/
$1.99
1.82 €
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Orchestre d'harmonie
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Marcelo Borba
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Marcelo Borba
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Ijexá Rhythm
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Marcelo Borba
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SheetMusicPlus
Children Of The Wind from the musical Rags - VOCAL SOLO (key of G) with 9 piece Band accompaniment
Piano, Voix et Guitare
By Stephen Schwartz. Arranged by W. Brent Sawyer. Score, Set of Parts. 50 pages. Pub…
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By Stephen Schwartz. Arranged by W. Brent Sawyer. Score, Set of Parts. 50 pages. Published by Diamond S Music
Item Number: H0.376331-SC001254883<br> <br> CHILDREN OF THE WIND from the musical RAGS. VOCAL SOLO (begins in the Key of G and ends in Eb - cast album key) and 9 piece Band Accompaniment. FULL SCORE & PARTS. This arrangement of the beautiful powerful anthem from the musical RAGS is in the style of the original version and has the high ending that is on the original Cast Album of RAGS. T 9 piece accompaniment is scored for: REED 1 (Bb Clarinet, Flute, Piccolo), REED 2 (Bb Clarinet), Bb Trumpet (with opt. Piccolo Trumpet), Trombone, Violin, Piano, Bass, Drums, Percussion.<br> <br> <br> <br> RAGS was created by the writers of the musicals ANNIE and Wicked, Charles Strouse and Stephen Schwartz. It had a very short Broadway run in 1986 and has been reworked and proved to be very popular around the world in various theater productions.<br> <br> <br> <br> Other similar arrangements from DIAMOND S MUSIC available at:<br> <br> https://www.sheetmusicplus.com/publishers/diamond-s-music/6940<br> <br> <br> <br> RAGS was created by the writers of the musicals ANNIE and Wicked, Charles Strouse and Stephen Schwartz. It had a very short Broadway run in 1986 and has been reworked and proved to be very popular around the world in various theater productions.<br> <br> <br> <br> Other similar arrangements from DIAMOND S MUSIC available at:<br> <br> https://www.sheetmusicplus.com/publishers/diamond-s-music/6940Item Number: H0.376331-SC001254883<br> <br> CHILDREN OF THE WIND from the musical RAGS. VOCAL SOLO (begins in the Key of G and ends in Eb - cast album key) and 9 piece Band Accompaniment. FULL SCORE & PARTS. This arrangement of the beautiful powerful anthem from the musical RAGS is in the style of the original version and has the high ending that is on the original Cast Album of RAGS. T 9 piece accompaniment is scored for: REED 1 (Bb Clarinet, Flute, Piccolo), REED 2 (Bb Clarinet), Bb Trumpet (with opt. Piccolo Trumpet), Trombone, Violin, Piano, Bass, Drums, Percussion.<br> <br> <br> <br> RAGS was created by the writers of the musicals ANNIE and Wicked, Charles Strouse and Stephen Schwartz. It had a very short Broadway run in 1986 and has been reworked and proved to be very popular around the world in various theater productions.<br> <br> <br> <br> Other similar arrangements from DIAMOND S MUSIC available at:<br> <br> https://www.sheetmusicplus.com/publishers/diamond-s-music/6940<br> <br> <br> <br> RAGS was created by the writers of the musicals ANNIE and Wicked, Charles Strouse and Stephen Schwartz. It had a very short Broadway run in 1986 and has been reworked and proved to be very popular around the world in various theater productions.<br> <br> <br> <br> Other similar arrangements from DIAMOND S MUSIC available at:<br> <br> https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$42.99
39.3 €
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Piano, Voix et Guitare
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Stephen Schwartz
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Children Of The Wind from the musical Rags - VOCAL SOLO
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Diamond S Music
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SheetMusicPlus
Popular Songs
Marimba
Marimba - intermediate - Digital Download SKU: S9.Q582369 Composed by Michael GroÃ…
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Marimba - intermediate - Digital Download SKU: S9.Q582369 Composed by Michael Großmann. Downloadable. Musikverlag Zimmermann - Digital #Q582369. Published by Musikverlag Zimmermann - Digital (S9.Q582369). German • English.This issue contains 11 popular études in different keys and musical styles. Despite the pedagogical orientation the pieces are also effective performance pieces, which give room for improvisatory elements and can be enhanced with rhythm instruments. The drummer Michael Großmann (* 1961) leads the department of jazz and popular music at the Wiesbaden school of arts and music. In addition to that, he is a very wanted musician in several free projects.
$22.99
21.02 €
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Marimba
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Michael Großmann
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Popular Songs
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Musikverlag Zimmermann - Digital
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SheetMusicPlus
Latin-American Folk Music for Classic Guitar
Guitare
Guitar - Intermediate - Advanced - Digital Download Composed by Guillermo Diego. Lati…
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Guitar - Intermediate - Advanced - Digital Download Composed by Guillermo Diego. Latin American. E-book. 36 pages. Mel Bay Publications - Digital Sheet Music #30826EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513455044.<br> <br> The presentation of this album marks a special event in classic guitar publishing! This anthology contains 11 truly representative examples of the folklore of Latin America, all highly revered folk songs considered jewels of the musical traditions of: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela and Mexico. Artfully arranged by the renowned Mexican composer and guitarist, Guillermo Diego, students and professionals alike will discover multiple items of interest and important technical challenges while learning some of the most popular Latin-American folk tunes. To facilitate dialog between teacher and student, rehearsal numbers have been added at key points of each arrangement; additionally, the guitarist will find a handful of pieces faithful to various Latin-American styles composed by Diego. Written in standard notation only for the intermediate to advanced classic guitarist, these arrangements will make delightful additions to recital and concert programs. La presentacion de este album es una buena nueva para la guitarra; se trata de la publicacion de una antologia sumamente representativa de obras pertenecientes al Folklore latinoamericano, piezas por demas apreciadas y consideradas joyas de la tradicion musical. La musica incluida en este album abarca los siguientes paises: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela y Mexico. Los arreglos, realizados de forma artistica y amorosa fueron realizados bajo el tamiz y experiencia del reconocido compositor y guitarrista mexicano, Guillermo Diego. Tanto estudiantes como profesionales, encontraran multiples puntos de interes y retos tecnicos importantes al abordar piezas notables de la musica latinoamericana.Como un elemento extra y para lograr el estudio mas eficaz de estas obras entre profesor y alumno, cada pieza cuenta con Numeros de Ensayo; adicionalmente, el guitarrista encontrara un punado de piezas fieles a diversos estilos latinoamericanos compuestas por Diego. Musica Tradicional Latinoamericana para Guitarra de Concierto, sin duda, una novedad para el mundo de la guitarra que aportara a los programas de concierto deliciosos ejemplos de la musica de America Latina.ISBN 9781513455044.<br> <br> The presentation of this album marks a special event in classic guitar publishing! This anthology contains 11 truly representative examples of the folklore of Latin America, all highly revered folk songs considered jewels of the musical traditions of: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela and Mexico. Artfully arranged by the renowned Mexican composer and guitarist, Guillermo Diego, students and professionals alike will discover multiple items of interest and important technical challenges while learning some of the most popular Latin-American folk tunes. To facilitate dialog between teacher and student, rehearsal numbers have been added at key points of each arrangement; additionally, the guitarist will find a handful of pieces faithful to various Latin-American styles composed by Diego. Written in standard notation only for the intermediate to advanced classic guitarist, these arrangements will make delightful additions to recital and concert programs. La presentacion de este album es una buena nueva para la guitarra; se trata de la publicacion de una antologia sumamente representativa de obras pertenecientes al Folklore latinoamericano, piezas por demas apreciadas y consideradas joyas de la tradicion musical. La musica incluida en este album abarca los siguientes paises: Argentina, Bolivia, Colombia, Chile, Ecuador, Panama, Peru, Uruguay, Venezuela y Mexico. Los arreglos, realizados de forma artistica y amorosa fueron realizados bajo el tamiz y experiencia del reconocido compositor y guitarrista mexicano, Guillermo Diego. Tanto estudiantes como profesionales, encontraran multiples puntos de interes y retos tecnicos importantes al abordar piezas notables de la musica latinoamericana.Como un elemento extra y para lograr el estudio mas eficaz de estas obras entre profesor y alumno, cada pieza cuenta con Numeros de Ensayo; adicionalmente, el guitarrista encontrara un punado de piezas fieles a diversos estilos latinoamericanos compuestas por Diego. Musica Tradicional Latinoamericana para Guitarra de Concierto, sin duda, una novedad para el mundo de la guitarra que aportara a los programas de concierto deliciosos ejemplos de la musica de America Latina.
$12.99
11.88 €
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Guitare
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Guillermo Diego
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Latin-American Folk Music for Classic Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Flute and Clarinet 64 easy duets - 16 Traditional tunes scored in four keys (volume 3)
Flûte, Clarinette (duo)
Composed by American Traditional, Catalan traditional, Chinese traditional, Ivan Lar…
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Composed by American Traditional, Catalan traditional, Chinese traditional, Ivan Larionov, Norwegian Traditional, Welsh Traditional, English Traditional, Scottish Traditional, and Irish Traditional. Arranged by Francesco Leone. Instructional, Multicultural, Traditional, World. 67 pages. Glissato Edizioni Musicali #819581. Published by Glissato Edizioni Musicali
(64 duets - Volume 3) This amazing collection of 16 traditional and popular music duets for C flute and Bb clarinet offers a wonderful selection of easy melodies for your ensemble. Explore the instrument in its different ranges as you transpose each song in four different tones. Get lost in the melodies and let them transport you to a different time and place as they speak to you of love, nature, and happiness. Enjoy creating a unique medley of your favorite songs and make it your own. With limitless combinations and possibilities, this flute and clarinet duets collection allows you to make your recital truly special.<br> one title per pagewide notationeasy keyscomfortable rangetime signatures 2/4 3/4 4/4Contents Titles:<br> Bamboo Flute, the<br> Big Rock Candy Mountain<br> Down By The Sally Gardens<br> El Noi de la Mare<br> Foggy Dew<br> Galway Piper, the<br> Homeward from the Mountains<br> Kalinka<br> Mary Don't You Weep<br> Rising of the Moon,the<br> Scarborough Fair<br> Skye Boat Song,the<br> Suo Gân<br> Twinkle, Twinkle, Little Star<br> Water is wide,the<br> Yankee Doodle(64 duets - Volume 3) This amazing collection of 16 traditional and popular music duets for C flute and Bb clarinet offers a wonderful selection of easy melodies for your ensemble. Explore the instrument in its different ranges as you transpose each song in four different tones. Get lost in the melodies and let them transport you to a different time and place as they speak to you of love, nature, and happiness. Enjoy creating a unique medley of your favorite songs and make it your own. With limitless combinations and possibilities, this flute and clarinet duets collection allows you to make your recital truly special.<br> one title per pagewide notationeasy keyscomfortable rangetime signatures 2/4 3/4 4/4Contents Titles:<br> Bamboo Flute, the<br> Big Rock Candy Mountain<br> Down By The Sally Gardens<br> El Noi de la Mare<br> Foggy Dew<br> Galway Piper, the<br> Homeward from the Mountains<br> Kalinka<br> Mary Don't You Weep<br> Rising of the Moon,the<br> Scarborough Fair<br> Skye Boat Song,the<br> Suo Gân<br> Twinkle, Twinkle, Little Star<br> Water is wide,the<br> Yankee Doodle
$13.99
12.79 €
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Flûte, Clarinette (duo)
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American Traditional, Catalan traditional, Chinese traditional, Ivan Larionov, Norwegian Traditional, Welsh Traditional, English Traditional, Scottish Traditional, and Irish Traditional
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Francesco Leone
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Flute and Clarinet 64 easy duets - 16 Traditional tunes scored in four keys
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Glissato Edizioni Musicali
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SheetMusicPlus
A Gershwin Portrait! The Music of George and Ira Gershwin
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0003559 A Gershwin Portrait! The Music o…
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Chorus - Digital Download SKU: AX.00-PO-0003559 A Gershwin Portrait! The Music of George and Ira Gershwin - SATB. Composed by George Gershwin and Ira Gershwin. Arranged by Mac Huff. Choral. 16 pages. Alfred Music - Digital Sheet Music #00-PO-0003559. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003559). ISBN 9780769259901. UPC: 029156098013.Music must reflect the thoughts and aspirations of the people and the time. My people are American. My time is today. This quote from George Gershwin sets the tone for this spectacular 25-minute Feature Medley showcasing the amazing artistic range of George and Ira Gershwin. The six flexible sections of timeless melodies highlight not only their popular songs, but also music for the Broadway and concert stage, the jazz musician and even an opera (Porgy and Bess).Mac Huff's spectacular Gershwin extravaganzahas been designed for all ages with accompaniment options of full combo, rhythm section, piano only or the dynamic ShowTrax CD. A magnificent tribute to two American musical masters!
$8.99
8.22 €
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Chorale SATB
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George Gershwin and Ira Gershwin
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Mac Huff
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A Gershwin Portrait! The Music of George and Ira Gershwin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
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
Bach for Guitar
Guitare
Guitar - easy to intermediate - Digital Download 27 Transcriptions for Guitar. Compos…
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Guitar - easy to intermediate - Digital Download 27 Transcriptions for Guitar. Composed by Johann Sebastian Bach (1685-1750). Arranged by Martin Hegel. This edition: Sheet music. Transkription, Popularitat, Guitar. Schott Guitar Classics. Downloadable. Schott Music - Digital #Q17856. Published by Schott Music - Digita
The advantages of Bach's music are that it is universal and to a certain extent independent of the instruments for which it was composed. His music is structured in such a brilliant and clear manner that it sounds good on any instrument. These compositions by Johann Sebastian Bach definitely are some of his best-known works and very popular. Therefore, also guitarists will certainly appreciate to be able to play this magnificent music on their instrument. All pieces are easy to play on the guitar and a valuable addition to the teaching and concert repertoire.The advantages of Bach's music are that it is universal and to a certain extent independent of the instruments for which it was composed. His music is structured in such a brilliant and clear manner that it sounds good on any instrument. These compositions by Johann Sebastian Bach definitely are some of his best-known works and very popular. Therefore, also guitarists will certainly appreciate to be able to play this magnificent music on their instrument. All pieces are easy to play on the guitar and a valuable addition to the teaching and concert repertoire.
$15.99
14.62 €
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Guitare
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Johann Sebastian Bach
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Martin Hegel
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Bach for Guitar
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Schott Music - Digita
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SheetMusicPlus
'Twas The Night Before Christmas (Solo and SAB)
Chorale 3 parties
Piano Accompaniment, Voice, Choir, SAB - Digital Download Composed by Stephen DeCesare.…
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Piano Accompaniment, Voice, Choir, SAB - Digital Download Composed by Stephen DeCesare. Broadway, Musicals, Movies, TV, Christmas. 34 pages. Published by Exultet Music
The ever popular Christmas poem "A Visit From St. Nicholas", has been arranged as a musical dialogue between a Narrator and an SAB choir with Piano accompaniment. Interspersed within the poem are three Christmas carols to help propel the story ("Jolly Old St. Nicholas with "Upon On The Housetop", "Jolly Santa Claus Is Here", and "We Wish You A Merry Christmas"). Accessible and appropriate for any school or concert setting.The ever popular Christmas poem "A Visit From St. Nicholas", has been arranged as a musical dialogue between a Narrator and an SAB choir with Piano accompaniment. Interspersed within the poem are three Christmas carols to help propel the story ("Jolly Old St. Nicholas with "Upon On The Housetop", "Jolly Santa Claus Is Here", and "We Wish You A Merry Christmas"). Accessible and appropriate for any school or concert setting.
$5.00
4.57 €
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Chorale 3 parties
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Stephen DeCesare
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'Twas The Night Before Christmas
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Exultet Music
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SheetMusicPlus
Good 4 U
Ensemble de cuivres
Brass Choir or Ensemble, Drum Set, Brass Band - Early Intermediate - Digital Downloa…
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Brass Choir or Ensemble, Drum Set, Brass Band - Early Intermediate - Digital Download By Olivia Rodrigo. Arranged by K Davies. Score, Set of Parts. 32 pages. Published by Bandmusic.co.uk
An exciting arrangement for brass band of this contemporary popular music. Listen for the bass line and the soprano cornet in the later sectionsAn exciting arrangement for brass band of this contemporary popular music. Listen for the bass line and the soprano cornet in the later sections
$45.00
41.14 €
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Ensemble de cuivres
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Olivia Rodrigo
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Good 4 U
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Bandmusic.co.uk
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SheetMusicPlus
Children Of The Wind from the musical Rags - VOCAL SOLO (key of G) - PIANO/VOCAL
Piano, Voix
Piano/Vocal/Chords, Voice - Advanced - Digital Download By Stephen Schwartz. Arranged …
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Piano/Vocal/Chords, Voice - Advanced - Digital Download By Stephen Schwartz. Arranged by W. Brent Sawyer. Individual Part. 11 pages. Published by Diamond S Music
CHILDREN OF THE WIND from the musical RAGS. VOCAL SOLO (begins in the Key of G and ends in Eb - cast album key) and 9 piece Band Accompaniment. THIS IS THE PIANO/VOCAL PART ONLY. This arrangement of the beautiful powerful anthem from the musical RAGS is in the style of the original version and has the high ending that is on the original Cast Album of RAGS. T 9 piece accompaniment is scored for: REED 1 (Bb Clarinet, Flute, Piccolo), REED 2 (Bb Clarinet), Bb Trumpet (with opt. Piccolo Trumpet), Trombone, Violin, Piano, Bass, Drums, Percussion.<br> <br> <br> <br> RAGS was created by the writers of the musicals ANNIE and Wicked, Charles Strouse and Stephen Schwartz. It had a very short Broadway run in 1986 and has been reworked and proved to be very popular around the world in various theater productions.<br> <br> <br> <br> Other similar arrangements from DIAMOND S MUSIC available at:<br> <br> https://www.sheetmusicplus.com/publishers/diamond-s-music/6940CHILDREN OF THE WIND from the musical RAGS. VOCAL SOLO (begins in the Key of G and ends in Eb - cast album key) and 9 piece Band Accompaniment. THIS IS THE PIANO/VOCAL PART ONLY. This arrangement of the beautiful powerful anthem from the musical RAGS is in the style of the original version and has the high ending that is on the original Cast Album of RAGS. T 9 piece accompaniment is scored for: REED 1 (Bb Clarinet, Flute, Piccolo), REED 2 (Bb Clarinet), Bb Trumpet (with opt. Piccolo Trumpet), Trombone, Violin, Piano, Bass, Drums, Percussion.<br> <br> <br> <br> RAGS was created by the writers of the musicals ANNIE and Wicked, Charles Strouse and Stephen Schwartz. It had a very short Broadway run in 1986 and has been reworked and proved to be very popular around the world in various theater productions.<br> <br> <br> <br> Other similar arrangements from DIAMOND S MUSIC available at:<br> <br> https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$9.99
9.13 €
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Piano, Voix
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Stephen Schwartz
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Children Of The Wind from the musical Rags - VOCAL SOLO
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Diamond S Music
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SheetMusicPlus
Repertoire of Arthur Sullivan's Popular Ballads. Little Maid of Arcadee
Piano, Voix
Piano and voice - Digital Download SKU: LV.11504 Composed by Sir Arthur Seymour Sul…
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Piano and voice - Digital Download SKU: LV.11504 Composed by Sir Arthur Seymour Sullivan. Musical instruments, Vines, Flowers, Couples, Wealth, Deception, Courtship, Love. Lester S. Levy Collection. 6 pages. Published by Johns Hopkins University Sheridan Libraries (LV.11504). Repertoire of Arthur Sullivan's Popular Ballads. Little Maid of Arcadee. Words by W.S. Gilbert. Music by Arthur S. Sullivan. Published [n.d.] by S.T. Gordon & Son, 13 East 14th Ave. in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Musical instruments, Vines, Flowers, Couples, Wealth, Deception, Courtship, Love. First line reads Little maid of Arcadee, sat on Cousin Robin's knee.. 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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Sir Arthur Seymour Sullivan
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Repertoire of Arthur Sullivan's Popular Ballads. Little Maid of Arcadee
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
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