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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Ring with 6 for Lent and Easter
Non classifié
26
Piano & claviers
Piano Trio: piano, violon, violoncelle
7
Piano seul
7
Piano, Voix
5
Accompagnement Piano
4
Piano Quatuor: piano, 2 violons, violoncelle
2
Guitares
Voix
Chorale 2 parties
13
Chorale SATB
10
Voix duo
6
Chorale 3 parties
4
Chorale Unison
3
Voix duo, Piano
2
+ 1 instrumentations
Retracter
Vents
Clarinette et Piano
4
Flûte, Clarinette (duo)
4
2 Clarinettes (duo)
4
2 Flûtes traversières (duo)
4
2 Saxophones (duo)
3
Hautbois, Clarinette (duo)
3
2 Hautbois (duo)
2
Cor anglais, Piano
1
Flûte traversière et Piano
1
Hautbois, Piano (duo)
1
2 Flûte à bec (duo)
1
Saxophone Alto et Piano
1
Clarinette, Basson (duo)
1
Flûte à bec Alto
1
Saxophone Baryton, Piano
1
Flûte à bec Soprano
1
Flûte, Hautbois, Clarinette, Basson
1
Saxophone Tenor et Piano
1
Saxophone Soprano et Piano
1
Flûte, Violon, Piano
1
Hautbois, Basson (duo)
1
Flûte à Bec
1
Cor Anglais
1
+ 18 instrumentations
Retracter
Cuivres
Trompette, Piano
4
Trombone et Piano
2
Quatuor de cuivres: 4 trompettes
2
2 Trompettes (duo)
1
Cor anglais, Piano
1
Cor, Tuba (duo)
1
Cor et Piano
1
2 Cors (duo)
1
Quatuor de cuivres: 4 cors
1
Quatuor de cuivres: 4 trombones
1
Trombone, Cor (duo)
1
4 Tubas
1
Trompette, Trombone (duo)
1
2 Trombones (duo)
1
2 Tubas (duo)
1
Trombone basse et Piano
1
Cor Anglais
1
Tuba et Piano
1
+ 13 instrumentations
Retracter
Cordes
Violon et Piano
11
2 Violons (duo)
3
Violoncelle, Piano
3
Violon, Violoncelle (duo)
3
Trio à Cordes: violon, alto, violoncelle
2
Alto, Piano
2
Violon, Alto (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
Alto, Violoncelle (duo)
2
Quatuor à cordes: 2 violons, alto, violoncelle
2
Quatuor à cordes: 4 violons
1
Contrebasse, Piano (duo)
1
2 Violoncelles (duo)
1
Quatuor à cordes : 4 altos
1
2 Altos (duo)
1
Violoncelle
1
4 Violoncelles
1
+ 12 instrumentations
Retracter
Orchestre & Percussions
Cloches
13
Piano et Orchestre
1
Orchestre d'harmonie
1
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CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
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PARTITIONS …
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PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
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VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
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Ring with 6 for Lent and Easter
Partitions à imprimer
207 partitions trouvées
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Ring with 6 for Lent and Easter
Cloches
Handbell, Sextet 5-6 Ringers (B4-A6)-Digital Version (5-6 ringers, B4-A6) - Digital …
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Handbell, Sextet 5-6 Ringers (B4-A6)-Digital Version (5-6 ringers, B4-A6) - Digital Download Arranged by Martha Lynn Thompson. Handbell Collection. Ring with 6. Lent, Easter Sunday. Collection. 16 pages. Hope Publishing - Digital #2348DP. Published by Hope Publishing - Digital
$39.95
36.77 €
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Cloches
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Martha Lynn Thompson
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Ring with 6 for Lent and Easter
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Hope Publishing - Digital
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SheetMusicPlus
When I Survey The Wondrous Cross (2 octave handbell & piano accompaniment)
Cloches
Handbell,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.712575 Compos…
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Handbell,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.712575 Composed by Watts. Arranged by Sandra Zylstra. Christian,Easter,Praise & Worship,Sacred. Score and individual part. 7 pages. Sandra dee zylstra #6132199. Published by sandra dee zylstra (A0.712575). May I never boast except in the cross of our Lord Jesus Christ (Galatians 6:14). This Bible verse was the basis for this communion song which is used in several denominations. Enjoy playing this long-time traditional hymn as a level 2 (16 bell) arrangement with piano accompaniment. You can also purchase an instrument solo that will fit with this bell arrangement. A separate handbell part is also included. Purchase of this piece gives permission to make copies for your bell choir only, it may not be duplicated for multiple groups. This arrangement is also available in the book Ring At Lent And Easter. (Approximately 3:00 minutes, 6 pages) You can look at other arrangements by Sandra Zylstra on Sheet Music Plus: https://www.sheetmusicplus.com/publishers/Sandra-Zylstra-sheet-music/3001855?aff_id=584183 and at Piano Pronto: Composers Community https://pianopronto.com/composers-community/sandra-zylstra/
$19.00
17.49 €
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Cloches
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Watts
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Sandra Zylstra
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When I Survey The Wondrous Cross
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sandra dee zylstra
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SheetMusicPlus
Christ The Lord Is Risen Today (2 octave handbell + piano accompaniment)
Cloches
Handbell,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.712569 Compos…
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Handbell,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.712569 Composed by adapted from Lyra Davidica. Arranged by Sandra Zylstra. Christian,Easter,Praise & Worship,Sacred. Score and individual part. 7 pages. Sandra dee zylstra #6099289. Published by sandra dee zylstra (A0.712569). Enjoy playing this long-time traditional Easter hymn as a level 2 (18 bell) Â arrangement with piano accompaniment in the keys of C and D. A separate handbell part is included. You can also purchase an instrument solo or duet that will fit with this bell arrangement. Purchase of this piece gives permission to make copies for your bell choir only, it may not be duplicated for multiple groups. Christ The Lord Is Risen Today is also available in the book Ring At Lent And Easter. (Approximately 2:30 minutes, 6 pages) You can look at other arrangements by Sandra Zylstra on Sheet Music Plus: https://www.sheetmusicplus.com/publishers/Sandra-Zylstra-sheet-music/3001855?aff_id=584183 and at Piano Pronto: Composers Community https://pianopronto.com/composers-community/sandra-zylstra/.
$19.00
17.49 €
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Cloches
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adapted from Lyra Davidica
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Sandra Zylstra
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Christ The Lord Is Risen Today
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sandra dee zylstra
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SheetMusicPlus
Christ Arose (2 octave handbell + piano accompaniment)
Cloches
Handbell,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.712571 Compos…
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Handbell,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.712571 Composed by Lowry. Arranged by Sandra Zylstra. Christian,Easter,Praise & Worship,Sacred. Score and individual part. 7 pages. Sandra dee zylstra #6104107. Published by sandra dee zylstra (A0.712571). Low in the grave He lay, Jesus my Savior…Hallelujah! Christ Arose! Enjoy playing this long-time traditional Easter hymn as a level 2 (22 bell) arrangement with piano accompaniment in the keys of Bb and C. You can also purchase an instrument solo or duet that will fit with this bell arrangement. A separate handbell part is also included. Purchase of this piece gives permission to make copies for your bell choir only, it may not be duplicated for multiple groups. Christ Arose is also available in the book Ring At Lent And Easter. (Approximately 3:00 minutes, 6 pages) You can look at other arrangements by Sandra Zylstra on Sheet Music Plus: https://www.sheetmusicplus.com/publishers/Sandra-Zylstra-sheet-music/3001855?aff_id=584183 and at Piano Pronto: Composers Community https://pianopronto.com/composers-community/sandra-zylstra/
$22.00
20.25 €
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Cloches
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Lowry
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Sandra Zylstra
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Christ Arose
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sandra dee zylstra
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SheetMusicPlus
A Savior's Love (2 octave handbell & piano accompaniment)
Cloches
Handbell,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.712577 Compos…
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Handbell,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.712577 Composed by American Folk Hymn, Johann Sebastian Bach, and Wilson. Arranged by Sandra Zylstra. Christian,Easter,Praise & Worship,Sacred. Score and individual part. 7 pages. Sandra dee zylstra #6135303. Published by sandra dee zylstra (A0.712577). A Savior's Love is arranged with three songs: Alas! And Did My Savior Bleed; What Wondrous Love Is This; and O Sacred Head Now Wounded. This piece would be great for a Palm Sunday service or a communion service. A Savior's Love is a level 2 arrangement for 2 octaves of handbells (16 bells). A separate handbell part is also included. Purchase of this piece gives you permission to make copies for your bell choir only, it may not be duplicated for multiple groups. This arrangement is also available in the book Ring At Lent And Easter. (Approximately 3 minutes, 6 pages) Â You can look at other arrangements by Sandra Zylstra on Sheet Music Plus: http://www.sheetmusicplus.com/formats/singles/sandra-zylstra/600092+3001855Â and at Piano Pronto: Composers Community https://pianopronto.com/composers-community/sandra-zylstra/
$19.00
17.49 €
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Cloches
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American Folk Hymn, Johann Sebastian Bach, and Wilson
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Sandra Zylstra
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What Wondrous Love Is This
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A Savior's Love
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sandra dee zylstra
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SheetMusicPlus
Broken for You (In Remembrance of Me)
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.919553 By Jenny Laine. By Jenny Lai…
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Piano Solo - Level 3 - Digital Download SKU: A0.919553 By Jenny Laine. By Jenny Laine. Christian,Classical,Easter,Lent,Sacred. Score. 6 pages. Melted Melodies #4359197. Published by Melted Melodies (A0.919553). Though your sins are like scarlet, they shall be as white as snow; though they are red as crimson, they shall be like wool. - Isaiah 1:18--Jesus is present with us and understands the deepest suffering of any person. The dissonance in the opening theme is meant to bring to mind that pain, suffering, and the cross. But as it resolves in the subsequent themes, I hope that it reminds you of the love that Jesus has for you and fills you with comfort and warmth. He is with you and he will never leave you or forsake you, if you believe in him as your Lord and Savior. Play this intermediate piano solo for silent prayer during communion for Sunday worship services. This is a suitable piece to program for Lent and Easter. This is from my album, Tranquility by Jenny Laine. iTunesOfficial YouTube Channel-- Find my music on: SpotifyApple MusicAmazon MusicSoundCloudDeezerBandcampPond5
$5.00
4.6 €
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Piano seul
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Jenny Laine
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Broken for You
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Melted Melodies
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SheetMusicPlus
Stricken, Smitten and Afflicted (Alternate Key)
Cloches
Handbell - Digital Download SKU: A0.862103 Arranged by Lauran Delancy. Christian,Ea…
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Handbell - Digital Download SKU: A0.862103 Arranged by Lauran Delancy. Christian,Easter,Sacred. Score. 4 pages. Headless Mallets #6189117. Published by Headless Mallets (A0.862103). Stricken, Smitten and Afflicted (Alternate Key) is an 8-Bell handbell arrangement of the hymn tune O MEIN JESU, ICH MUSS STERBEN utilizing bells F#5-F#6 by Lauran Delancy. It may be rung with two people in 4-in-Hand or four people in a small ensemble with 2 bells each. An excellent piece for Lent or Holy Week, this piece is contemplative handbell arrangement of the hymn centering on Isaiah 53:3-6. This piece is available in another key for those who prefer to play the piece with more standardized 8-Bell duet handbell assignments (using handbells G5-G6) under the title Stricken, Smitten and Afflicted. This hymn tune is also paired with the text Spirit, Come, Dispel Our Sadness. All notes are rung and no tables are needed. Permission is granted to the original purchaser of this music to make sufficient copies for their musicians. May NOT be duplicated for multiple groups. Headless Mallets Publishing HM031.
$7.00
6.44 €
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Cloches
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Lauran Delancy
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Stricken, Smitten and Afflicted
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Headless Mallets
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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
22.08 €
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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
Stricken, Smitten and Afflicted
Cloches
Handbell - Digital Download SKU: A0.862102 Arranged by Lauran Delancy. Christian,Ea…
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Handbell - Digital Download SKU: A0.862102 Arranged by Lauran Delancy. Christian,Easter,Sacred. Score. 4 pages. Headless Mallets #6189105. Published by Headless Mallets (A0.862102). Stricken, Smitten and Afflicted is an 8-Bell handbell arrangement of the hymn tune O MEIN JESU, ICH MUSS STERBEN utilizing bells G5-G6 by Lauran Delancy. It may be rung with two people in 4-in-Hand or four people in a small ensemble with 2 bells each. An excellent piece for Lent or Holy Week, this piece is contemplative handbell arrangement of the hymn centering on Isaiah 53:3-6. This piece is available in an alternate key for those who prefer to play the piece with more standard handbell assignment positions (most spaces in the left hand and lines in the right hand) under the title Stricken, Smitten and Afflicted (Alternate Key). This hymn tune is also paired with the text Spirit, Come, Dispel Our Sadness. All notes are rung and no tables are needed. Permission is granted to the original purchaser of this music to make sufficient copies for their musicians. May NOT be duplicated for multiple groups. Headless Mallets Publishing HM030.
$7.00
6.44 €
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Cloches
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Lauran Delancy
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Stricken, Smitten and Afflicted
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Headless Mallets
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SheetMusicPlus
The Water is Wide for Viola & Piano
Alto, Piano
Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoir…
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Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoire, Technique Training, Easter, Lent. Score, Set of Parts. 17 pages. Published by jmsgu3
The Water Is Wide (O Waly Waly)<br> Duration: 5:24<br> Score: 10 pg. 121 ms., MM quarter = 94, final verse MM quarter = 80, common time<br> Solo part: 3 pg.<br> Piano part: 4 pg.<br> <br> A thought-provoking arrangement of a Traditional Scottish Folksong. Probably most widely known as "The Water Is Wide,"<br> it is also well known by it's more ancient title: "O Waly Waly." The tune is also known as " When I Survey the Wondrous Cross," and "The Gift of Love."<br> This is an original arrangement from the ground up.<br> <br> Programming:<br> If you are looking for something with new contrapuntal and harmonic adventures for a Lenten prelude or a meditation during Holy Week, this will fit the bill.<br> It could also work well in a recital setting because it fits well on the instrument, and provides a chance to show off long, sensitive musical phrases.<br> Some of the figures in the descant verse are a wee-bit more advanced so, this is for intermediate players rather than beginners.<br> <br> Keep in mind these performance ideas:<br> 1. It's a simple tune that needs to unfold in the due course of time, so don't rush it. A slight ritardando at the end of each verse may help if you want to further delineate the verses.<br> 2. There is a lot of interesting counterpoint here, so be prepared to give-and-take on the dynamics more than what I have indicated.<br> 3. The final verse is much slower and more mysterious, and the dynamics are crucial - the quieter the better. Piano - the last chord: take your time on the roll, make it nice and slow.<br> <br> Synopsis of the arrangement:<br> verse 1: Simple quiet duet with the melody in the solo instrument.<br> verse 2: Melody in the solo instrument accompanied by a 2-part canon in the piano.<br> verse 3: Melody in the piano in 4-part harmony.<br> verse 4: 3-part canon on the melody (with a free accompaniment voice).<br> verse 5: 2-part canon with a free accompaniment in the solo part<br> verse 6: Melody in octaves with free bass in octaves; descant in the solo part - loudest verse.<br> verse 7: Very quiet ending verse - Modulates down a fourth, melody in the solo part accompanied by simple quartal/quintal<br> piano clusters over bass chords that suggest submerged church bells.<br> <br> For better insight into the performance of this music: express the emotion indicated by the lyrics:<br> <br> The Water Is Wide:<br> The water is wide, I cannot get over<br> Neither have I wings to fly<br> Give me a boat that can carry two<br> And both shall row, my love and I<br> A ship there is and she sails the sea<br> She's loaded deep as deep can be<br> But not so deep as the love I'm in<br> I know not if I sink or swim<br> I leaned my back against an oak<br> Thinking it was a trusty tree<br> But first it bent and then it broke<br> So did my love prove false to me<br> I reached my finger into some soft bush<br> Thinking the fairest flower to find<br> I pricked my finger to the bone<br> And left the fairest flower behind<br> Oh love be handsome and love be kind<br> Gay as a jewel when first it is new<br> But love grows old and waxes cold<br> And fades away like the morning dew<br> Must I go bound while you go free<br> Must I love a man who doesn't love me<br> Must I be born with so little art<br> As to love a man who'll break my heart<br> When cockle shells turn silver bells<br> Then will my love come back to me<br> When roses bloom in winter's gloom<br> Then will my love return to me<br> <br> The lyrics for "Waly, Waly, Gin Love Be Bonny" from Ramsay's Tea Table Miscellany (1724).<br> <br> O Waly, waly (a lament – "woe is me") up the bank,<br> And waly, waly doun the brae (hill),<br> And waly, waly, yon burn-side (riverside),<br> Where I and my love wont to gae.<br> I lean'd my back into an aik (oak),<br> I thocht it was a trusty tree;<br> But first it bow'd, and syne (soon) it brak (broke),<br> Sae my true love did lightly me.<br> <br> O waly, waly, but love be bonnie (beautiful),<br> A little time while it is new,<br> But when 'tis auld (old), it waxeth cauld (cold),<br> And fades away like the morning dew.<br> O wherefore should I busk my heid (adorn my head)?<br> Or wherefore should I kame (comb) my hair?<br> For my true love has me forsook,<br> And says he'll never love me mair (more).<br> <br> Now Arthur Seat shall be my bed,<br> The sheets shall ne'er be fyl'd by me,<br> Saint Anton's well shall be my drink,<br> Since my true love has forsaken me.<br> Martinmas wind, when wilt thou blaw (blow),<br> And shake the green leaves off the tree?<br> O gentle death, when wilt thou come?<br> For of my life I am weary.<br> <br> 'Tis not the frost, that freezes fell,<br> Nor blawing snaws (snow) inclemency,<br> 'Tis not sic cauld (such cold) that makes me cry,<br> But my love's heart grown cauld to me.<br> When we cam in by Glasgow town,<br> We were a comely sight to see;<br> My love was clad in the black velvet,<br> And I my sell in cramasie (crimson).<br> <br> But had I wist (known), before I kiss'd,<br> That love had been sae ill to win,<br> I'd lock my heart in a case of gold,<br> And pin'd it with a silver pin.<br> Oh, oh! if my young babe were born,<br> And set upon the nurse's knee,<br> And I my sell were dead and gane,<br> For a maid again I'll never be.[4]<br> (Lyrics courtesy of Wikipedia)<br> <br> <br> For more information, please feel free to contact me at: jmsgu3 "at" gmail.com<br> James M. Guthrie, ASCAP<br> jmsgu3 publicationsThe Water Is Wide (O Waly Waly)<br> Duration: 5:24<br> Score: 10 pg. 121 ms., MM quarter = 94, final verse MM quarter = 80, common time<br> Solo part: 3 pg.<br> Piano part: 4 pg.<br> <br> A thought-provoking arrangement of a Traditional Scottish Folksong. Probably most widely known as "The Water Is Wide,"<br> it is also well known by it's more ancient title: "O Waly Waly." The tune is also known as " When I Survey the Wondrous Cross," and "The Gift of Love."<br> This is an original arrangement from the ground up.<br> <br> Programming:<br> If you are looking for something with new contrapuntal and harmonic adventures for a Lenten prelude or a meditation during Holy Week, this will fit the bill.<br> It could also work well in a recital setting because it fits well on the instrument, and provides a chance to show off long, sensitive musical phrases.<br> Some of the figures in the descant verse are a wee-bit more advanced so, this is for intermediate players rather than beginners.<br> <br> Keep in mind these performance ideas:<br> 1. It's a simple tune that needs to unfold in the due course of time, so don't rush it. A slight ritardando at the end of each verse may help if you want to further delineate the verses.<br> 2. There is a lot of interesting counterpoint here, so be prepared to give-and-take on the dynamics more than what I have indicated.<br> 3. The final verse is much slower and more mysterious, and the dynamics are crucial - the quieter the better. Piano - the last chord: take your time on the roll, make it nice and slow.<br> <br> Synopsis of the arrangement:<br> verse 1: Simple quiet duet with the melody in the solo instrument.<br> verse 2: Melody in the solo instrument accompanied by a 2-part canon in the piano.<br> verse 3: Melody in the piano in 4-part harmony.<br> verse 4: 3-part canon on the melody (with a free accompaniment voice).<br> verse 5: 2-part canon with a free accompaniment in the solo part<br> verse 6: Melody in octaves with free bass in octaves; descant in the solo part - loudest verse.<br> verse 7: Very quiet ending verse - Modulates down a fourth, melody in the solo part accompanied by simple quartal/quintal<br> piano clusters over bass chords that suggest submerged church bells.<br> <br> For better insight into the performance of this music: express the emotion indicated by the lyrics:<br> <br> The Water Is Wide:<br> The water is wide, I cannot get over<br> Neither have I wings to fly<br> Give me a boat that can carry two<br> And both shall row, my love and I<br> A ship there is and she sails the sea<br> She's loaded deep as deep can be<br> But not so deep as the love I'm in<br> I know not if I sink or swim<br> I leaned my back against an oak<br> Thinking it was a trusty tree<br> But first it bent and then it broke<br> So did my love prove false to me<br> I reached my finger into some soft bush<br> Thinking the fairest flower to find<br> I pricked my finger to the bone<br> And left the fairest flower behind<br> Oh love be handsome and love be kind<br> Gay as a jewel when first it is new<br> But love grows old and waxes cold<br> And fades away like the morning dew<br> Must I go bound while you go free<br> Must I love a man who doesn't love me<br> Must I be born with so little art<br> As to love a man who'll break my heart<br> When cockle shells turn silver bells<br> Then will my love come back to me<br> When roses bloom in winter's gloom<br> Then will my love return to me<br> <br> The lyrics for "Waly, Waly, Gin Love Be Bonny" from Ramsay's Tea Table Miscellany (1724).<br> <br> O Waly, waly (a lament – "woe is me") up the bank,<br> And waly, waly doun the brae (hill),<br> And waly, waly, yon burn-side (riverside),<br> Where I and my love wont to gae.<br> I lean'd my back into an aik (oak),<br> I thocht it was a trusty tree;<br> But first it bow'd, and syne (soon) it brak (broke),<br> Sae my true love did lightly me.<br> <br> O waly, waly, but love be bonnie (beautiful),<br> A little time while it is new,<br> But when 'tis auld (old), it waxeth cauld (cold),<br> And fades away like the morning dew.<br> O wherefore should I busk my heid (adorn my head)?<br> Or wherefore should I kame (comb) my hair?<br> For my true love has me forsook,<br> And says he'll never love me mair (more).<br> <br> Now Arthur Seat shall be my bed,<br> The sheets shall ne'er be fyl'd by me,<br> Saint Anton's well shall be my drink,<br> Since my true love has forsaken me.<br> Martinmas wind, when wilt thou blaw (blow),<br> And shake the green leaves off the tree?<br> O gentle death, when wilt thou come?<br> For of my life I am weary.<br> <br> 'Tis not the frost, that freezes fell,<br> Nor blawing snaws (snow) inclemency,<br> 'Tis not sic cauld (such cold) that makes me cry,<br> But my love's heart grown cauld to me.<br> When we cam in by Glasgow town,<br> We were a comely sight to see;<br> My love was clad in the black velvet,<br> And I my sell in cramasie (crimson).<br> <br> But had I wist (known), before I kiss'd,<br> That love had been sae ill to win,<br> I'd lock my heart in a case of gold,<br> And pin'd it with a silver pin.<br> Oh, oh! if my young babe were born,<br> And set upon the nurse's knee,<br> And I my sell were dead and gane,<br> For a maid again I'll never be.[4]<br> (Lyrics courtesy of Wikipedia)<br> <br> <br> For more information, please feel free to contact me at: jmsgu3 "at" gmail.com<br> James M. Guthrie, ASCAP<br> jmsgu3 publications
$32.95
30.32 €
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Alto, Piano
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Traditional Scottish
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James M
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The Water is Wide for Viola & Piano
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jmsgu3
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SheetMusicPlus
Prologue and Rhythmic Dance - Handbell Score
Cloches
3, 4, 5, 6, or 7 octaves handbells - Level 4 - Digital Download SKU: C7.CGB661 P…
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3, 4, 5, 6, or 7 octaves handbells - Level 4 - Digital Download SKU: C7.CGB661 Prayer and Joyful Praise. Composed by Cathy Moklebust. Christmas. Master Ringer. With Windchimes, Triangle, Bongo, Tambourine. Score. 12 pages. Chorister's Guild - Digital #CGB661. Published by Chorister's Guild - Digital (C7.CGB661). UPC: 749193015506.Level 3 * Two hymn tunes are combined into a moving and glorious arrangement for Palm Sunday, Lent, Holy Week, or Easter. The PASSION CHORALE is presented in a gentle and flowing manner, using an LV bass accompaniment. Optional handchimes in the bass and middle ranges then play J.S. Bach's harmonization with lightly malleted eighth notes in the upper treble bells. A transition using both tunes grows into a brilliant fanfare, leading into a majestic, triumphant rendition of Crown Him with Many Crowns, and the fanfare returns to conclude the work.
$4.95
4.56 €
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Cloches
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Cathy Moklebust
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Prologue and Rhythmic Dance - Handbell Score
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Chorister's Guild - Digital
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SheetMusicPlus
Stephansdom for Solo Bass Trombone & Trombone Choir
Small Ensemble Bass Trombone - Level 5 - Digital Download SKU: A0.792274 Composed b…
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Small Ensemble Bass Trombone - Level 5 - Digital Download SKU: A0.792274 Composed by Diefendorfer, Ryan. Arranged by Diefendorfer, Ryan. 20th Century,Contemporary. Score and parts. 60 pages. Gordon Cherry #4803763. Published by Gordon Cherry (A0.792274). Stephansdom is a new composition, descriptive of the iconic St. Stephan's Cathedral in central Vienna. Ryan Diefendorfer wrote this work for the Indiana University Trombone Ensemble for Bass Trombone solo and Trombone Choir (6-part) to be performed by Carl Lenthe at the 2012 Eastern Music Festival. Ryan's work was awarded the winner of the 2012 Eastern Trombone Workshop National Composition Competition. St. Stephen’s Cathedral, also known as Stephansdom, is one of Vienna’s most remarkable city icons. Dating back to 1137, Stephandsom towers above the rest of Vienna’s skyline and has been a constant presence in the lives of the Viennese for nearly one thousand years. Among the buildings that the Viennese find closest to their hearts, Stephansdom is certainly one of them I. Groundbreaking The first movement depicts the troubles that St. Stephen’s Cathedral had in getting its groundbreaking as a church. The opening of the piece marks the celebration of the Viennese when St. Stephen’s was first constructed in 1137, during the Romanesque era. However, the church faced many issues-from being destroyed by the Babenberg Empire to being decimated by a fire-before the church began its construction in the Gothic style in 1307. The first movement depicts these struggles before resolving to an open chord. II. Steffl Steffl, the nickname for Stephansdom’s soaring north tower, is one of the characteristics of the cathedral that the Viennese find so endearing. This movement is very upbeat and is meant to portray the excitement shared by the Viennese for this beautiful addition to Stephansdom, which was completed in 1433. Stephansdom’s north tower is the tallest structure in Vienna, and distinctly stands out within Vienna’s skyline. III. 1945 As World War II was coming to a close in 1945, Stephansdom’s roof caught fire from a neighboring building, destroying large portions of the church. One climax occurs at m.30, which depicts Stephansdom’s great bell, the Pummerin, crashing down to the ground. This movement depicts the chaotic nature of the raging fire of 1945. IV. Anton Pilgrim Anton Pilgrim was the last, and perhaps most beloved, architect who worked on St. Stephen’s Cathedral in the Gothic style. One of his most famous projects was the St. Stephen’s organ loft, which is depicted by an opening organ-like canon. The final movement to the piece ends in a chorale-like fashion, demonstrating the Viennese’s love for Anton Pilgrim, as well as Stephansdom, one of Vienna’s most iconic sights. This work of 12 minutes in length is appropriate for advanced performers.
$27.50
25.31 €
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Diefendorfer, Ryan
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Diefendorfer, Ryan
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Stephansdom for Solo Bass Trombone & Trombone Choir
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Gordon Cherry
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SheetMusicPlus
How Deep The Father's Love For Us
Chorale 2 parties
Choral Choir,Choral (2-Part) - Level 3 - Digital Download SKU: A0.565463 By Phillip…
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Choral Choir,Choral (2-Part) - Level 3 - Digital Download SKU: A0.565463 By Phillips, Craig & Dean. By Stuart Townend. Arranged by Sharon Wilson. Contemporary,Easter,Praise & Worship,Sacred. 18 pages. Sharon Wilson #4408999. Published by Sharon Wilson (A0.565463). This beautiful contemporary worship hymn by STUART TOWNEND is arranged for a 2-Part Choir (SOPRANO and ALTO) with PIANO accompaniment. The flowing, lyrical style of this choral arrangement creates a reverent and uplifting atmosphere and is an ideal selection for any church setting, especially during the Lent and Easter season.This 2-Part arrangement is in the key of F with vocal ranges as follows: SOPRANO (Part 1) ~ C4 to E5; ALTO (Part 2) ~ A3 to A4. Verse 1 and 3 are the same and begin with the SOPRANO and ALTO singing solo for one phrase each, then the SOPRANO leads with the melody for the remainder of the verse while the ALTO adds a straight-forward, non-complex harmony. For verse 2, the ALTO leads with the melody for most of the verse while the SOPRANO sings a descant. The song concludes with a prayerful Amen. The audio sample begins at the pickup to measure 19 when the two parts first start singing together (played by a violin and flute for the audio sample).For duet use where only one copy is needed, this arrangement is also available as a single purchase. Â The purchase price includes these printing options: 1. a grand staff (6 pages) with all parts on each page 2. separate scores for the SOPRANO and ALTO (2 pages each) and PIANO (4 pages)
$2.99
2.75 €
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Chorale 2 parties
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Phillips, Craig & Dean
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Sharon Wilson
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ALTO (Part 2) ~ A3 to A4
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How Deep The Father's Love For Us
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Sharon Wilson
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SheetMusicPlus
O Jesulein süss by Bach for String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 1 - Digital Download SKU: A0.1093736 Composed…
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String Quartet String Quartet - Level 1 - Digital Download SKU: A0.1093736 Composed by Johann Sebastian Bach. Arranged by ANDERSSON. Baroque,Christmas,Easter,Sacred,Wedding. 6 pages. Woods Only, Arrangements #697814. Published by Woods Only, Arrangements (A0.1093736). This easy arrangement for string quartet has been adapted to be simple to perform and understand the structure of the original work for various levels of musical knowledge. It can be played freely by beginning students because of the ease imposed on the piece. Recommended for performance in reverently Christian and liturgical ceremonies such as Good Friday and Christmas time. It also serves as a study for Baroque sacred song. The Jesulein süß, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein süss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering.
$7.99
7.35 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Johann Sebastian Bach
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ANDERSSON
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O Jesulein süss by Bach for String Quartet
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Woods Only, Arrangements
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SheetMusicPlus
O Jesulein süss by Bach for Viola Quartet
Quatuor à cordes : 4 altos
String Quartet String Quartet,Viola - Level 1 - Digital Download SKU: A0.1093741 Co…
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String Quartet String Quartet,Viola - Level 1 - Digital Download SKU: A0.1093741 Composed by Johann Sebastian Bach. Arranged by ANDERSSON. Baroque,Christmas,Easter,Sacred,Wedding. 6 pages. Woods Only, Arrangements #697820. Published by Woods Only, Arrangements (A0.1093741). This easy arrangement for viola quartet has been adapted to be simple to perform and understand the structure of the original work for various levels of musical knowledge. It can be played freely by beginning students because of the ease imposed on the piece. Recommended for performance in reverently Christian and liturgical ceremonies such as Good Friday and Christmas time. It also serves as a study for Baroque sacred song. The Jesulein süß, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein süss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering.
$7.99
7.35 €
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Quatuor à cordes : 4 altos
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Johann Sebastian Bach
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ANDERSSON
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O Jesulein süss by Bach for Viola Quartet
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Woods Only, Arrangements
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SheetMusicPlus
O Jesulein süss by Bach for Violin Quartet
Quatuor à cordes: 4 violons
String Quartet String Quartet,Violin - Level 1 - Digital Download SKU: A0.1093739 C…
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String Quartet String Quartet,Violin - Level 1 - Digital Download SKU: A0.1093739 Composed by Johann Sebastian Bach. Arranged by ANDERSSON. Baroque,Christmas,Easter,Sacred,Wedding. 6 pages. Woods Only, Arrangements #697818. Published by Woods Only, Arrangements (A0.1093739). This easy arrangement for violin quartet has been adapted to be simple to perform and understand the structure of the original work for various levels of musical knowledge. It can be played freely by beginning students because of the ease imposed on the piece. Recommended for performance in reverently Christian and liturgical ceremonies such as Good Friday and Christmas time. It also serves as a study for Baroque sacred song. The Jesulein süß, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein süss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering.
$7.99
7.35 €
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Quatuor à cordes: 4 violons
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Johann Sebastian Bach
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ANDERSSON
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O Jesulein süss by Bach for Violin Quartet
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Woods Only, Arrangements
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SheetMusicPlus
When I Survey The Wondrous Cross, for Clarinet Duet
2 Clarinettes (duo)
Clarinet Duet - Level 3 - Digital Download SKU: A0.763627 Composed by Lowell Mason.…
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Clarinet Duet - Level 3 - Digital Download SKU: A0.763627 Composed by Lowell Mason. Arranged by Nigel Williams. Easter,Lent,Sacred,Standards. 2 scores. 6 pages. Nigel Williams #6118473. Published by Nigel Williams (A0.763627). Ideal in a service of worship at any time, and especially during Lent and Easter. Great duet recital repertoire for High School students, with each part having equal access to both melody and accompaniment. The full score comes with individual parts attached and a performance duration approaching two and a half minutes. Enjoy browsing my extensive selection of clarinet and woodwind solos, duets, trios and quartets available on SMP.
$3.99
3.67 €
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2 Clarinettes (duo)
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Lowell Mason
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Nigel Williams
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When I Survey The Wondrous Cross, for Clarinet Duet
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Nigel Williams
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SheetMusicPlus
When I Survey The Wondrous Cross, for Flute Duet
2 Flûtes traversières (duo)
Flute Duet - Level 2 - Digital Download SKU: A0.763625 Composed by Lowell Mason. Ar…
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Flute Duet - Level 2 - Digital Download SKU: A0.763625 Composed by Lowell Mason. Arranged by Nigel Williams. Easter,Lent,Sacred,Standards. Score. 6 pages. Nigel Williams #6118441. Published by Nigel Williams (A0.763625). Ideal in a service of worship at any time, and especially during Lent and Easter. Great duet recital repertoire for High School students, with each part having equal access to both melody and accompaniment. The full score comes with individual parts attached and a performance duration approaching two and a half minutes. Enjoy browsing my extensive selection of flute and woodwind solos, duets, trios and quartets available on SMP.
$3.99
3.67 €
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2 Flûtes traversières (duo)
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Lowell Mason
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Nigel Williams
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When I Survey The Wondrous Cross, for Flute Duet
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Nigel Williams
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SheetMusicPlus
Close to Thee (for Violin and Cello Duet with Piano accompaniment)
Piano Trio: piano, violon, violoncelle
Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.565814 By Sharon…
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Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.565814 By Sharon Wilson. By Fanny J. Crosby and Silas J. Vail. Arranged by Sharon Wilson. Easter,Lent,Praise & Worship,Sacred,Wedding. 15 pages. Sharon Wilson #6257185. Published by Sharon Wilson (A0.565814). The beloved hymn by Silas J. Vail (words by Fanny Crosby) is presented here as a flowing, peaceful instrumental trio (for VIOLIN and CELLO duet with PIANO accompaniment). Both the CELLO and the VIOLIN get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The VIOLIN plays the melody for the first verse and the CELLO leads with the melody for the second verse. This beautiful, inspiring instrumental arrangement is an ideal selection for a church setting and a valuable addition to your sacred string ensemble repertoire. Duration 2:15.The range for each part is as follows: VIOLIN ~ D4 to F#5; CELLO ~ B2 to D4. For both the VIOLIN and CELLO, all notes are playable in the first position making this piece an excellent choice for early intermediate string players.The purchase price includes these printing options: 1. a grand staff (6 pages) with all parts on each page2. separate scores for the CELLO and VIOLIN (1 page each) and PIANO (3 pages)3. a combined CELLO and VIOLIN score (2 pages) This arrangement is one of the 10 songs in the collection Praise Him with Stringed Instruments, Book 2 (Collection of 10 Hymns for Violin, Cello, and Piano).Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99
5.51 €
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Piano Trio: piano, violon, violoncelle
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Sharon Wilson
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Sharon Wilson
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CELLO ~ B2 to D4
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Close to Thee
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Sharon Wilson
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SheetMusicPlus
Close to Thee (for Violin Duet with Piano accompaniment)
Violon et Piano
Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 3 - Digital Download SKU…
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Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 3 - Digital Download SKU: A0.565818 By Sharon Wilson. By Fanny J. Crosby and Silas J. Vail. Arranged by Sharon Wilson. Christian,Easter,Lent,Romantic Period,Sacred. 15 pages. Sharon Wilson #6258659. Published by Sharon Wilson (A0.565818). The beloved hymn by Silas J. Vail (words by Fanny Crosby) is presented here as a flowing, peaceful instrumental trio (for two VIOLINS with PIANO accompaniment). This beautiful, inspiring instrumental arrangement is an ideal selection for a church setting and a valuable addition to your sacred string ensemble repertoire. Duration 2:15.VIOLIN 1 leads with the melody for the first verse and then VIOLIN 2 takes the melody for the second verse. The range for each part is as follows: VIOLIN 1 ~ D4 to B5; VIOLIN 2 ~ A3 to C#5. All notes for both the VIOLIN parts are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. The purchase price includes these printing options: 1. a grand staff (6 pages) with all parts on each page2. separate scores for each VIOLIN (1 page each) and PIANO (3 pages)3. a combined VIOLIN 1 and VIOLIN 2 score (2 pages) This arrangement is one of the 10 songs in the collection Praise Him with Stringed Instruments, Book 2 (Collection of 10 Hymns for Violin Duet with Piano).Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99
5.51 €
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Violon et Piano
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Sharon Wilson
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Sharon Wilson
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VIOLIN 2 ~ A3 to C#5
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Close to Thee
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Sharon Wilson
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SheetMusicPlus
Nearer, My God, to Thee (Easy Violin Duet with Piano Accompaniment)
Violon et Piano
Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU…
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Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.565532 By Sharon Wilson. By Lowell Mason. Arranged by Sharon Wilson. Easter,Lent,Romantic Period,Sacred,Wedding. 12 pages. Sharon Wilson #4729467. Published by Sharon Wilson (A0.565532). Here is a beautiful instrumental trio arrangement (for two VIOLINS with PIANO accompaniment) of the beloved hymn tune BETHANY by Lowell Mason. This gently flowing arrangement encourages contemplation and meditation making it an ideal selection for worship services, weddings, or funerals.The two VIOLIN parts alternate leading with the melody throughout both verses and even the PIANO gets the melody for 4 measures during the second verse. The first verse is in the key of C major, then for the second verse, the song transitions to the key of G major. All notes for both VIOLIN parts are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. The purchase price includes a 6-page combined score (grand staff) with all three parts on each page (VIOLIN 1, VIOLIN 2, and PIANO) plus a separate 1-staff score for each VIOLIN part (1 page each). This arrangement is one of the 10 songs in the collection Praise Him with Stringed Instruments, Book 1 (Collection of 10 Hymns for Violin Duet with Piano).Visit Sharon Wilson's website: https://www.sharonwilsonmusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99
5.51 €
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Violon et Piano
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Sharon Wilson
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Sharon Wilson
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Nearer, My God, to Thee
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Sharon Wilson
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SheetMusicPlus
According To Thy Gracious Word, for Clarinet Duet
2 Clarinettes (duo)
Clarinet Duet - Level 3 - Digital Download SKU: A0.763637 Composed by Hugh Wilson. …
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Clarinet Duet - Level 3 - Digital Download SKU: A0.763637 Composed by Hugh Wilson. Arranged by Nigel Williams. Easter,Lent,Multicultural,Sacred,World. 2 scores. 6 pages. Nigel Williams #6136301. Published by Nigel Williams (A0.763637). The popular hymn tune Avon is arranged for woodwind duet with each instrument having equal share of both melody and attractive accompaniment material. Ideal in a service of worship during Lent and Easter, and great high school student duet repertoire. The full score downloads with parts attached. Enjoy browsing my extensive selection of clarinet and woodwind duets, trios and quartets available on SMP.
$3.99
3.67 €
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2 Clarinettes (duo)
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Hugh Wilson
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Nigel Williams
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According To Thy Gracious Word, for Clarinet Duet
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Nigel Williams
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SheetMusicPlus
According To Thy Gracious Word, for Flute Duet
2 Flûtes traversières (duo)
Flute Duet - Level 2 - Digital Download SKU: A0.763634 Composed by Hugh Wilson. Arr…
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Flute Duet - Level 2 - Digital Download SKU: A0.763634 Composed by Hugh Wilson. Arranged by Nigel Williams. Easter,Lent,Multicultural,Sacred,World. Score. 6 pages. Nigel Williams #6136291. Published by Nigel Williams (A0.763634). The popular hymn tune Avon is arranged for woodwind duet with each instrument having equal share of both melody and attractive accompaniment material. Ideal in a service of worship during Lent and Easter, and great high school student duet repertoire. The full score downloads with parts attached. Enjoy browsing my extensive selection of flute and woodwind duets, trios and quartets available on SMP.
$3.99
3.67 €
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2 Flûtes traversières (duo)
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Hugh Wilson
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Nigel Williams
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According To Thy Gracious Word, for Flute Duet
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Nigel Williams
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SheetMusicPlus
I Want Jesus to Walk with Me
Clarinette et Piano
Clarinet,Piano - Level 3 - Digital Download SKU: A0.1163497 By Nigel Williams. By A…
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Clarinet,Piano - Level 3 - Digital Download SKU: A0.1163497 By Nigel Williams. By African-American Spiritual. Arranged by Nigel Williams. Blues,Easter,Lent,Spiritual. Score and part. 6 pages. Nigel Williams #763833. Published by Nigel Williams (A0.1163497). Popular tune Walk with Me (Sojourner) arranged for clarinet and piano. Suitable at any time during the year and especially during the season of Lent. The musical style is Blues with a hint of Swing in the clarinet, and the score downloads with parts attached. Enjoy browsing my selection of clarinet and piano arrangements available on SMP and SMD.
$4.99
4.59 €
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Clarinette et Piano
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Nigel Williams
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Nigel Williams
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I Want Jesus to Walk with Me
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Nigel Williams
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SheetMusicPlus
Jesus Walked This Lonesome Valley (for 3-6 octave handbell ensemble) (site license)
Cloches
Handbell - Level 2 - Digital Download SKU: A0.800613 Composed by American Folk Hymn…
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Handbell - Level 2 - Digital Download SKU: A0.800613 Composed by American Folk Hymn. Arranged by Jason W. Krug. Easter,Sacred. Score. 8 pages. Grassy Meadow Music #6668299. Published by Grassy Meadow Music (A0.800613). 3-6 Octaves, Level 2+Purchase of this item constitutes a site license -- permission is given to produce as many copies as needed for your ensemble only. Set a solemn note during Lent with this lush setting of a well-known American folk hymn. All sections of the ensemble get a shot at the melody, and the varying moods let your musicians hone their musicality.There is also a compatible 2-3 octave edition of this piece, GMH230011.· Purchase of this PDF grants permission to broadcast or live stream performances.
$59.95
55.17 €
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Cloches
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American Folk Hymn
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Jason W
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Jesus Walked This Lonesome Valley
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Grassy Meadow Music
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SheetMusicPlus
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