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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
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Vous avez sélectionné:
Reminiscent Echoes
Partitions à imprimer
15 partitions trouvées
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Reminiscent Echoes
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1281551 Composed by Mihail Kovachev…
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Piano Solo - Level 2 - Digital Download SKU: A0.1281551 Composed by Mihail Kovachev. Classical,Soul. Score. 2 pages. Mihail Kovachev #872891. Published by Mihail Kovachev (A0.1281551). The echoes of the past resound in the present, a haunting reminder of what once was...
$5.99
5.43 €
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Piano seul
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Mihail Kovachev
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Reminiscent Echoes
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Mihail Kovachev
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SheetMusicPlus
Echoes
Violon
Instrumental Solo,Violin - Level 5 - Interactive Download SKU: A0.480445 Composed b…
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Instrumental Solo,Violin - Level 5 - Interactive Download SKU: A0.480445 Composed by Melissa Blanton. This edition: Interactive Download. Classical. Individual part. 2 pages. Duration 102. Melissa Blanton #61hbTIq8OqtRkyHNpyMwoM. Published by Melissa Blanton (A0.480445). Key: Bb major.This unaccompanied, passionate, solo violin piece is reminiscent of J.S.Bach's Gavotte in G minor, BWV 822 (which there are 3 quoted measures). G minor, 4/4 time ** You can print this for FREE on Melissa's PUBLIC SCORES page for a limited time!
$2.99
2.71 €
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Violon
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Melissa Blanton
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Echoes
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Melissa Blanton
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SheetMusicPlus
Tik, Tik, Tik, Tik, Tik, Tik
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.1455063 Composed by Joseph Hasper…
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Concert Band - Level 3 - Digital Download SKU: A0.1455063 Composed by Joseph Hasper. 21st Century,Classical,Contemporary,Contest,Festival. 26 pages. Joseph Hasper #1034135. Published by Joseph Hasper (A0.1455063). Twelve short movements for wind ensemble by Joseph Hasper composed in 2024. Program notes: Tik, Tik, Tik, Tik, Tik, Tik the rich tapestry of harmonic possibilities across all twelve keys. Each movement is a concise musical vignette, delving into the unique character and mood of its respective key while reflecting a post-modern approach that embraces eclecticism, irony, and an intertextual dialogue with past musical traditions. This work is deeply influenced by the innovative spirit of Leonard Bernstein and Charles Ives, two iconic American composers who challenged conventional musical boundaries. Bernstein's ability to seamlessly blend diverse musical genres, from classical to jazz, resonates in the stylistic pluralism of this piece. Each movement offers a distinct musical landscape, reminiscent of Bernstein's kaleidoscopic score for West Side Story, where classical and contemporary idioms collide and coalesce into a vibrant sonic tapestry. Echoes of Charles Ives can be heard in the fragmented, juxtaposed themes and the adventurous harmonic language that defies traditional expectations. Like Ives' Three Places in New England, this composition revels in the collision of disparate musical elements, creating a rich tapestry that reflects the complexity and plurality of the modern musical landscape. Ives’ technique of layering different melodies and harmonies simultaneously is reflected in several movements where multiple key centers overlap, creating a soundscape that is at once disorienting and captivating. Tik, Tik, Tik, Tik, Tik, Tik invites listeners to experience a post-modern journey through sound, where each movement stands as an independent piece, yet contributes to a greater whole. The brevity of each segment—each capturing a distinct emotional and harmonic essence—echoes the concept of musical snapshots, offering a fleeting yet profound exploration of the vast possibilities within the twelve keys. This work is not merely a cycle through the keys, but a commentary on the diversity and potential of musical expression in the post-modern era.
$39.00
35.32 €
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Orchestre d'harmonie
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Joseph Hasper
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Tik, Tik, Tik, Tik, Tik, Tik
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Joseph Hasper
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SheetMusicPlus
Traditional Patterns
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1414362 Composed by Donald Ashwande…
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Piano Solo - Level 3 - Digital Download SKU: A0.1414362 Composed by Donald Ashwander. Classical,Contemporary,Folk. Score. 26 pages. The Donald Ashwander Estate #996164. Published by The Donald Ashwander Estate (A0.1414362). Donald Ashwander's Traditional Patterns is a remarkable 25-page musical journey inspired by the rich tapestry of American folk art. Through this suite of eight pieces, Ashwander masterfully weaves together melodies that evoke a myriad of emotions and imagery.The suite opens with Dove in the Window, a gentle yet haunting composition that pays homage to the Sacred Harp tradition with its modal echoes and soul-stirring melodies. From there, the journey continues with Crow Tracks, a jaunty march that seamlessly transitions into the exuberant revelry of a hoe-down.Road to California paints a vivid picture of early westward treks, with its march-like rhythm in the beloved 6/8 time signature of the 19th century. Meanwhile, Drunkard's Path explores shifting meters, mirroring the lurching and stumbling of the town drunk on a Saturday night.Sunshine and Shadow offers a gentle yet vivacious waltz, showcasing Ashwander's talent for capturing the true essence of American country music. Pine Trees utilizes juxtapositions of 3/4 and 4/4 measures, evoking the distant echoes of church singing amidst the tranquil scenery.Goose in the Pond is a celebration of rural dance, bursting with extroverted energy and lyrical evocations of banjo plucking. Finally, the suite concludes with The Moonflower Vine, a magical and solemn piece reminiscent of midsummer nights filled with enchantment and mystery.Through Traditional Patterns, Donald Ashwander invites pianists to immerse themselves in the rich history and evocative imagery of American folk art, as each composition unfolds like a vibrant patchwork quilt, revealing new layers of beauty and meaning with every note.
$9.95
9.01 €
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Piano seul
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Donald Ashwander
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Traditional Patterns
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The Donald Ashwander Estate
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SheetMusicPlus
Glory of the West
Trompette, Piano
Piano,Trumpet - Level 5 - Digital Download SKU: A0.973263 Composed by Lynn L. Peter…
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Piano,Trumpet - Level 5 - Digital Download SKU: A0.973263 Composed by Lynn L. Petersen. 21st Century,Classical,Contemporary,Contest,Festival. Score and part. 24 pages. Lynn L. Petersen #6886191. Published by Lynn L. Petersen (A0.973263). Glory of the West was commissioned by Dr. Zach Buie and premiered at the College of Southern Idaho on March 3, 2020. Dr. Buie requested a new work connected with or inspired by the Mountain West region. The inspiration for this piece was the song MONTANA, which I first heard at a memorial service, a great favorite of the gentleman who had passed. The song was composed in 1910 and later adopted as Montana's state song. Glory of the West is in three sections. The first, marked Rolling Along, conveys optimism and wide-open spaces. The middle Adagio section features a descending stepwise melody followed by a soaring ascending line, reminiscent of melodic contours in the refrain of the song. The final section, marked Playfully, begins with fragments of a lively and rhythmically irregular motive, and woven throughout are echoes of the ascending lines from the previous section. The score contains the Piano and C Trumpet parts in concert pitch, and a part for B-flat Trumpet is provided as an alternate.
$10.99
9.95 €
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Trompette, Piano
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Lynn L
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Dr
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Glory of the West
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Lynn L. Petersen
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SheetMusicPlus
Septet for Brass
Ensemble de cuivres
Brass Ensemble - Level 5 - Digital Download SKU: A0.913632 Composed by James Marsha…
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Brass Ensemble - Level 5 - Digital Download SKU: A0.913632 Composed by James Marshall. 20th Century,Multicultural,World. Score and parts. 82 pages. James Marshall Music #6384341. Published by James Marshall Music (A0.913632). Septet for Brass is one of the earliest compositions of this composer. It echoes the sentiments of the  Cold War late 1960s in its bold, brass gestures of confidence and elan. Set in traditional three movement form, the opening Allegro heralds the return to decorum following the upheaval of the decade. The secondary theme is reminiscent of the English lyricism of Vaughn Williams. This sentiment returned to the pen of this composer in recent years in compositions commissioned by London clarinetist Alison Eales. This score originally from 1969 was edited during the Pandemic of 2020-2021. Andante is a lamenting chorale played by the Tuba laced by haunting melismas suggesting the drawn out moods in the music of Shostakovich. The final Rondo is spirited with a theme in 9/8 (3/4 + 3/8) with subsequent sections of mix meter and pulsating textures. Instrumentation is 2 Trumpets in C, 2 Horns in F, 2 Trombones and Tuba.
$19.99
18.11 €
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Ensemble de cuivres
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James Marshall
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Septet for Brass
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James Marshall Music
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SheetMusicPlus
Last Song of the Night
Saxophone Tenor et Piano
Instrumental Duet,Piano Instrumental Duet,Piano,Tenor Saxophone - Level 4 - Digital Downlo…
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Instrumental Duet,Piano Instrumental Duet,Piano,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1083718 By Bryon Tosoff and Paul Wainwright. By Bryon Tosoff. Arranged by Bryon Tosoff. 20th Century,Contemporary,Jazz,Standards. Score and parts. 8 pages. Bryon tosoff #687927. Published by bryon tosoff (A0.1083718). Last Song of the Night is a piano and tenor sax collaboration set in the late hours as the name suggests. This post modern jazz inspired piece evokes echoes of Monk and Mingus in it’s evolving fluidity. The theme bends time and key signatures with artistic effect conjuring a nightscape reminiscent of film noir. It is a blend of some tasty piano comping that is intertwined with some nice light lyrical touches on the 88's coupled with amazing and elegant rich textures of sax playing by Paul Wainwright.
$5.99
5.43 €
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Saxophone Tenor et Piano
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Bryon Tosoff and Paul Wainwright
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Bryon Tosoff
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Last Song of the Night
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bryon tosoff
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SheetMusicPlus
Cinnamon Rolls (for Brass Quintet)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158388 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158388 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Comedy. 22 pages. Https://gildedmusicpress.com/ #758669. Published by https://gildedmusicpress.com/ (A0.1158388). My wife’s from-scratch cinnamon rolls are famous throughout our community—especially among our children’s circle of friends. While enjoying a socially-distanced church service at home on Easter Sunday, there was a batch of those butterfly-inducing cinnamon rolls baking in the new oven. They filled the home with an exquisite aromatic delight. Then the magic motif chimed: “The food is done!†I happened to have my composition notebook with me, and the little four-note tune inspired this composition. It just naturally took me in some happy musical directions, and within a minute or two, the melodic content, replete with fun-filled, muted second-trumpet echoes, was scrawled down. The next day, the music was entered into the computer. It is interesting that I gave the horn the cliché off-beats that all hornists know and love so well. Funny, I usually pride myself on writing for horn as an equal musical instrument; however, this fun, happy melody just demanded an “um-pah†accompaniment. Hopefully there is enough variety to keep the part fun to play. It helps that the piece is only two minutes and something long. The transition into the B section almost wrote itself, modulating to the relative minor. There I paused briefly, wondering how to treat a minor section in such an exuberant piece. Oh, but inspiration continued to flow, and I resumed writing in earnest with a mischievous smile! This section beautifully portrays a naughty, sneaky kid tiptoeing into the kitchen for another cinnamon roll—forbidden until after dinner! The listener can hear the kid’s nervous fluttering heart, and moments of pulling his hand back in startled impishness, and even shuddering as he looks fearfully over his shoulder. At the end of the B section, he gets caught! Witnessing that low-hanging head and puppy dog eyes, mommy finds that she can’t scold the lad too severely. “After dinner, little one…†she reprimands with an understanding grin. The jubilant melody returns to round out the work’s ternary ABA form, though this time with a very sticky Ives-esque climax, reminiscent of a gooey cinnamon roll mess. Too enjoyable to be bothered by prospects of cleaning up, the music shrugs it off with flippant ragtime syncopations, and ends with the “hic-burp†of a very satisfied tummy.
$19.95
18.07 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Dr
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Cinnamon Rolls
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https://gildedmusicpress.com/
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SheetMusicPlus
Seven Pieces in Twentieth-Century Styles
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 2…
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Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com
$5.00
4.53 €
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Piano seul
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James Siddons
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Seven Pieces in Twentieth-Century Styles
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James Siddons Music and Writings
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SheetMusicPlus
Nana's Music Box
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1284043 By Jeff Bjorck. By Jeff Bjo…
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Piano Solo - Level 3 - Digital Download SKU: A0.1284043 By Jeff Bjorck. By Jeff Bjorck. Arranged by Jeff Bjorck. 21st Century,Children,Contemporary,New Age. Score. 2 pages. Pure Piano Music by Jeff Bjorck #875215. Published by Pure Piano Music by Jeff Bjorck (A0.1284043). This original solo piano composition by Jeff Bjorck appears on his album/CD, Keepsakes in the Attic. Bjorck notes that, when he created this piece, he visualized an antique music box which--when played--would evoke nostalgic memories of a loving Grandmother playing the box for her grandchildren. The melody is reminiscent of old music box tunes, and it fades slowly as the piece ends, suggesting that the listener leaves the lid open so the echoes and memories can continue on in the listener’s heart.
$5.50
4.98 €
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Piano seul
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Jeff Bjorck
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Jeff Bjorck
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Nana's Music Box
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Pure Piano Music by Jeff Bjorck
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SheetMusicPlus
Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/R…
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Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 16 pages. Musik Fabrik Music Publishing #5726995. Published by Musik Fabrik Music Publishing (A0.534653). Recorded for Grand Piano (GP822) by Nicolas Horvath.IFêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy’s friend Louis Laloy. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, ‘Les Masques’, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine’s comedy Les Uns et les autres. The action is set in a park à la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin..This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L’Isle Joyeuse (1904). Following Laloy’s scenario, the mas-queraders then sing extracts from Verlaine’s ‘A la promenade’ (from Fêtes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.
$12.95
11.73 €
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Fêtes Galantes for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Klezmer Concerto - for clarinet, strings, harp, and percussion (full score)
Orchestre à Cordes
String Orchestra - Level 4 - Digital Download SKU: A0.944031 Composed by Ofer Ben-A…
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String Orchestra - Level 4 - Digital Download SKU: A0.944031 Composed by Ofer Ben-Amots. Contemporary,Jewish. Score and parts. 132 pages. The Composer's Own Press #4609863. Published by The Composer's Own Press (A0.944031). THE KLEZMER CONCERTO The concerto opens with a slow but intense movement titled Pastoral Doyna.  A Doyna is a lament-like melody -- both declamatory and melancholic -- of Eastern-European origin, most likely Rumanian, Gypsy, or Jewish. The opening by the string ensemble is reminiscent of the awakening sound of nature. On top of the busy accompaniment the clarinet enters with occasional shouts, echoes, and cry-like gestures. The second movement is a sort of a wedding-waltz, titled: Dance of the Seven Circles. The name goes back to the old Jewish tradition according to which a bride must circle seven times around the bridegroom before the actual start of the marriage ceremony. Its nature of this movement is a mixture of irony and passion, humor and pain. At the end of the waltz the clarinetist is invited to play a free cadenza and improvise on previous motives and melodic patterns. The movement ends with a return to the orchestra, with a soulful lament and quiet murmuring of the soloist. The third and last movement of the concerto is titled Halleluya. It is inspired by the textual content, vibrant rhythms and many musical instruments suggested in the 150th Psalm. Toward the end of this movement, there is a second solo cadenza in a perpetual motion style, where upon the players of the orchestra join in and add their voices to the pandemonium with a song of praise: Halleluya! Parts available through rental only! For performance materials, demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00
48.91 €
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Orchestre à Cordes
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Ofer Ben-Amots
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Klezmer Concerto - for clarinet, strings, harp, and percussion
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The Composer's Own Press
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SheetMusicPlus
Fêtes Galantes : 1er Tableau - Les Masques for solo/mixed chorus and orchestra - Score Only
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1086971 Composed by Claude Debu…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1086971 Composed by Claude Debussy/Robert Orledge. Classical,Contemporary,Opera. Score and parts. 32 pages. Musik Fabrik Music Publishing #691161. Published by Musik Fabrik Music Publishing (A0.1086971). Scored for baritone (or counter-tenor) soloist, mixed chorus and orchestra (2222/2200/timp/2perc/hp/cel/mand/strings). Fêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy’s friend Louis Laloy in November, 1913. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice of 1912 entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, ‘Les Masques’, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine’s comedy Les Uns et les autres (1884). The action is set in a park à la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin.. This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L’Isle joyeuse (1904). Following Laloy’s scenario, the masqueraders then sing extracts from Verlaine’s ‘A la promenade’ (from Fêtes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.
$24.95
22.6 €
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Orchestre
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Claude Debussy/Robert Orledge
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Fêtes Galantes : 1er Tableau - Les Masques for solo/mixed chorus and orchestra - Score Only
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Musik Fabrik Music Publishing
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SheetMusicPlus
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