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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
Rising and Falling
Non classifié
13
Piano & claviers
Piano seul
18
2 Pianos, 4 mains
1
Guitares
Voix
Chorale SATB
9
Chorale 3 parties
1
Chorale SSAA
1
Chorale 2 parties
1
Vents
Ensemble de Clarinettes
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
Quatuor de Saxophones: 4 saxophones
1
2 Flûtes traversières (duo)
1
Flûte et Guitare
1
Quatuor de Flûtes : 4 flûtes
1
3 Clarinettes (trio)
1
Flûte traversière et Piano
1
3 Saxophones (trio)
1
Quatuor de Clarinettes: 4 clarinettes
1
+ 5 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2
Cordes
Trio à Cordes: violon, alto, violoncelle
4
Alto, Piano
2
Violon et Piano
2
Quatuor à cordes: 2 violons, alto, violoncelle
1
Orchestre & Percussions
Orchestre d'harmonie
4
Orchestre
1
Ensemble de Percussions
1
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FLUTE A DIX…
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FORMATION M…
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LUTH, THEOR…
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OUD
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TRI ET FILTRES
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
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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ASIE
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OLD TIME - EARLY ROC…
OPERA
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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Vous avez sélectionné:
Rising and Falling
Partitions à imprimer
75 partitions trouvées
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Elements Suite for Violin and Piano 4nd Mvnt: Water
Violon et Piano
Instrumental Solo,Piano,Violin - Digital Download SKU: A0.862518 Composed by Michae…
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Instrumental Solo,Piano,Violin - Digital Download SKU: A0.862518 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score and individual part. 11 pages. Michael Butkus-Bomier #2032641. Published by Michael Butkus-Bomier (A0.862518). Water, the Source of Life, and yet given enough time, it can wear down and dissolve Anything. Such a power! The music here tries to evoke a flow, of course, and yet exemplify that power, shown to us in rushing riverbeds and waterfalls. Glissandos on the white keys help a bit here! The piano uses chords in alternating motion, as a constant underpinning to the rising and falling flow of the melody. The score and audio clip will show you how the musical action tries to emulate rather than simply mimic the action of a moving body of water. Running time just over 2 mins. MBB.
$4.99
4.6 €
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Violon et Piano
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Michael Bomier
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Elements Suite for Violin and Piano 4nd Mvnt: Water
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Michael Butkus-Bomier
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SheetMusicPlus
Anything You Can Do . . . for violin and vibraphone
Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU:…
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Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - Digital Download SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 54 pages. Robert M. Greenberg #90285. Published by Robert M. Greenberg (A0.987848). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 12 minutes Year of composition: 2006 Program Note: The mind searches for the oddest of couples. Felix Unger and Oscar Madison. Julia Roberts and Lyle Lovett. The violin and the vibraphone. Aside from the letter V, the two instruments have almost nothing in common. We consider: the violin is the most aristocratic instrument in the Western musical tradition, the prima donna of the instrumental world, an instrument that has had, lavished upon it, more extraordinary music than any other since its invention roughly 475 years ago. And then there’s the vibraphone, a percussion instrument with pitched metal bars and motor-driven resonators that produce a vibrato. Invented around 1925, it’s an instrument created for dance bands and popular music. Anything You Can Do . . . is a confrontation between these two musical opposites. A sense of contest characterizes the entire piece, as the vibraphone seeks to establish its bona fides side by side with the violin, which in turn attempts to keep the vibraphone in its place by beating it at its own game. The first movement is conceived as a race, in which each instrument acts like the other – the violin explosively and percussively, and the vibraphone with lengthy bowed passages – while seeking to shake off the other. The movement concludes with the violin paying a series of huge, chords and a long, sustained triple-stop that, much to its fury, the vibraphone manages to match with a sustained double-stop of its own. The movement ends in a draw. The second movement begins with the violin doing its best to match the vibrato patterns of the vibraphone’s variable motor. Ultimately, the violin breaks free and plays a broad, arioso-styled melody. The vibraphone tries to match it, but cannot; try as it might, its fixed range cannot reach the stratospheric heights of the violin. Advantage violin. The third movement is constructed in three sections. In the outer sections, rapidly rising and falling lines and counter rhythms pervade as each instrument seeks to gain an advantage over the other. In the middle section, alternating, hocket-like phrases give way to bent notes and glissandi in the vibraphone, which infuriates the violin (how dare this upstart percussion instrument do something ordinarily associated with me?). The movement concludes with the violin once again attempting to lord its greater range over the vibraphone by playing a long sustained F# - the same pitch that conquered the vibraphone at the end of the second movement – only to have the vibraphone top it by playing a harmonic a full seven notes above the F#. Game, set, match: vibraphone. Some respect, please, for the new kid on the block. Anything You Can Do . . . is dedicated, with a thousand-and-one thanks, to Victor Romasevich and Jack van Geem.
$28.00
25.81 €
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Robert M
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Anything You Can Do . . . for violin and vibraphone
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Robert M. Greenberg
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SheetMusicPlus
Harmonic Spaces (four-hands piano)
2 Pianos, 4 mains
2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.977034 Composed by…
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2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.977034 Composed by Paul SanGregory. Contemporary. Score. 29 pages. Distant Engraver Music #3536815. Published by Distant Engraver Music (A0.977034). Each of these four short pieces has its own character, color and rhythmic flow. Because the interplay between parts is sometimes complex and challenging, they can provide wonderful ensemble workouts for performers as well as fun and exciting musical experiences for audiences. The title Harmonic Spaces refers to both the idea that they are musical spaces filled with colors and characters as well as to the widely-spaced harmonic intervals upon which those aspects are built. Each movement is based on one or two wide intervals that mimic the spacing of overtones (or partials) in the harmonic series. This approach allowed the composer to produce unique harmonies, colors and atmospheres. For listeners, of course, knowledge of these intervals isn't important, even though the colors, characters and atmospheres they produce is. Each movement is described briefly below: I - Simply and gracefully moving forward. (9th and 3rd partials)This gently flowing movement is a slow progression of widely-spaced chords with gracefully rising and falling strings of notes woven in and around them. The chords often appear in groups of two, with the second being quieter, like an echo of the first. That creates a sense of harmonic space within which the delicate lines move in and out of agreement with the chords.II - With a steady, even flow (or groove). (7th and 5th partials)The harmonic partials of this movement are what give dominant 7th chords their characteristic sound and function. Furthermore, because 7th chords are an important part of jazz harmony, jazz influences enter into this piece. Listeners may notice the outlines of gliding 7th chords, swinging meters and syncopated rhtyhms reminiscent of jazz.III - Gentle, flexible, but rhythmically accurate. (11th Partial)This movement unfolds slowly like a quiet summer afternoon under a shade tree watching lazy clouds. Because the 11th partial is a note that falls between the cracks of the piano keyboard, both the perfect 4th and augmented 4th (in very wide spacing) are used to approximate it. Although this creates some non-traditional harmonies and non-chord tone effects, the piece is tranquil, peaceful and beautiful. IV - With precision, energy and excitement. (13th Partial)This energetic finale uses much syncopation and rhythmic interplay as well as wide-ranging arpeggios that get shared between the two players. The primary interval often appears as widely spaced parallel motion, which adds a special color or flavor to the rhythms. The result is a joyful romp in a playground of rhythm, color, motion and contrast. (duration of all four pieces is ca. 12 minutes) This work was funded by the National Culture and Arts Foundation of Taiwan (ROC)
$10.00
9.22 €
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2 Pianos, 4 mains
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Paul SanGregory
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Harmonic Spaces
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Distant Engraver Music
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SheetMusicPlus
Pitt Street Bridge - for Concert Band
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.778226 Composed by John McAlliste…
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Concert Band - Level 2 - Digital Download SKU: A0.778226 Composed by John McAllister. Contemporary,Folk,Instructional,Standards. Score and parts. 52 pages. John McAllister #6665567. Published by John McAllister (A0.778226). Pitt Street Bridge was commissioned by the Moultrie Middle School Band to be premiered at the 2020 SCMEA Conference. The remains of the Pitt Street Bridge lie in the Intercoastal Waterway and in what is now called Pickett Bridge Recreation Area. It is within walking distance from the middle school, and it is an integral part of Mt. Pleasant’s history. Originally designed as a trolley bridge that connected Sullivan’s Island and Mount Pleasant, Pitt Street Bridge is now a haven for recreation and relaxation. The lively melodies throughout the piece depict the festive activities that take place on Pitt Street Bridge. The piece opens as though one is standing on the Pitt Street Bridge, gazing out at the immensely beautiful surroundings. Slow and serene as the sun blankets the harbor and the marsh. The bridge has a tremendous history, dating back to the revolutionary war, which is where the melody begins. Deconstructed from part of Sir Peter Parker, a song about the Battle of Sullivan’s Island. A distant memory, this melody will find itself in many ways throughout (three notes rising diatonically followed by a falling 3rd). The woodwinds pattern in the opening (which also appears throughout), represents the ripples in the water, flowing gently back and forth. The military past of the bridge is hinted at in two ways. The snare in the opening, reminiscent of the rudimental style and several harmonies throughout that hint at an Americana style. As the piece picks up tempo, the hustle and bustle of 1920s Charleston comes to life. Harmonically, everything is still built off of the foundation of the original tune, but now we’re in bright and joyous times and people are transported to and from the island in the Roarin’ 20s. The optimism abounds until the climax of the piece as the bridge (musically speaking), fades into the past. At the finale, one is standing on the bridge with the distant melody still played on the flute.
$40.00
36.88 €
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Orchestre d'harmonie
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John McAllister
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Pitt Street Bridge - for Concert Band
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John McAllister
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SheetMusicPlus
Gustav Holst. First Suite for Military Band Op. 28 "Intermezzo" Second Movement arr. for Flute Duet
2 Flûtes traversières (duo)
Flute Duet Flute - Level 4 - Digital Download SKU: A0.1489684 By James Galway Jeann…
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Flute Duet Flute - Level 4 - Digital Download SKU: A0.1489684 By James Galway Jeanne Galway. By Gustav Holst. Arranged by Glenn Martin. 20th Century,Chamber,Contemporary,Contest,Festival,Film/TV. Score. 5 pages. Cornelius edition #1066545. Published by Cornelius edition (A0.1489684). Gustav Holst First Suite Op. 28 Intermezzo Second Movement arranged for Flute Duet.Holst was a British composer, conductor, teacher and ethnomusicologist. He is most well known for The Planets Suite for Orchestra Op. 32.His compositions have twentieth century characteristics with unconventional time signatures, rising and falling scales, ostinato and bitonality.The First Suite Opus 28 was premiered by the Royal Military School of Music in 1920.This edition arranged for Flute Duet, duration 3:40would be ideal for performance, competitions and classroom study.
$5.45
5.02 €
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2 Flûtes traversières (duo)
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James Galway Jeanne Galway
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Glenn Martin
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Gustav Holst. First Suite for Military Band Op. 28 "Intermezzo" Second Movement arr. for Flute Duet
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Cornelius edition
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SheetMusicPlus
The Tide Rises, the Tide Falls (SATB and piano)
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1154516 Composed by Alan B…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1154516 Composed by Alan Bullard. Classical. Octavo. 8 pages. Colne Edition / BullardMusic #754799. Published by Colne Edition / BullardMusic (A0.1154516). The Tide Rises, the Tide Falls is a colourful response to Longfellow's imaginative poem which depicts life and death through the image of the continual ebb and flow of the tide, watched by a traveller on the seashore. The music clothes the poetry with poignant rising and falling phrases supported by rich harmony and a flowing piano part. It is a movement from Bullard's cantata Travelling Tales, also published by Colne Edition. Alan Bullard's choral works are performed worldwide, and many have been recorded and broadcast. He has a reputation for music that choirs enjoy performing, and which speaks directly to audiences. The Colne Choral Series contains a range of Bullard's pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk.
$1.99
1.83 €
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Chorale SATB
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Alan Bullard
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The Tide Rises, the Tide Falls
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Colne Edition / BullardMusic
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SheetMusicPlus
High Noon for Flute and Guitar
Flûte et Guitare
Instrumental Duet Flute,Guitar,Instrumental Duet - Level 2 - Digital Download SKU: A0.8…
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Instrumental Duet Flute,Guitar,Instrumental Duet - Level 2 - Digital Download SKU: A0.809793 Composed by Robert E. Proctor. 20th Century,Contemporary. Score and parts. 12 pages. R. E. Proctor #3031811. Published by R. E. Proctor (A0.809793). As the title suggests, High Noon is warm and familiar but still original in tone. The clouds do roll in for a moment as the music changes from A major to A minor. However, the sun returns at the end! Approximately 2 minutes and 54 seconds in length. Pair this with Night is Falling and The Sun is Now Rising and you will have a full day of music for your audience to enjoy! Suggested fingerings provided for the guitarist.
$3.95
3.64 €
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Flûte et Guitare
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Robert E
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High Noon for Flute and Guitar
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R. E. Proctor
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SheetMusicPlus
Prelude and Fugue #4 from WTC - BWV 849 for brass quintet
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1005619
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1005619 Composed by J. S. Bach (1685-1750). Arranged by Rudy Volkmann. Baroque. Score and parts. 23 pages. Rudy Volkmann #6022303. Published by Rudy Volkmann (A0.1005619). This gorgeous, slowly-developing work is really only appreciable in a transcription, rather than for the keyboard for which it was written. The rising and falling (and folding in and out) of the lines are really only possible on individual instruments. It's long, hard blow, but very much worth it.
$20.00
18.44 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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J
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Rudy Volkmann
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Prelude and Fugue #4 from WTC - BWV 849 for brass quintet
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Rudy Volkmann
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SheetMusicPlus
Introduction and Dance for Flute, Oboe, Violin, Viola and Cello
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.957886 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.957886 Composed by John Beeman. 20th Century,Contemporary. 26 pages. John Beeman #2584339. Published by John Beeman (A0.957886). Living near the ocean has inspired me to include a great deal of ocean imagery in this composition. Rolling rhythms in 6/8 meter are reminiscent of the flowing movements of the sea. Shimmering sun on water is suggested by high-pitched woodwind figures. The ebb and flow of the sea is brought to mind by rising and falling musical phrase. The second section is a playful dance written in 7/8 meter. All the instruments get a chance to play the uplifting melody.
$14.99
13.82 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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John Beeman
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Introduction and Dance for Flute, Oboe, Violin, Viola and Cello
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John Beeman
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SheetMusicPlus
Sonata in a Simple Scale for Viola and Piano
Alto, Piano
Piano,Viola - Level 4 - Digital Download SKU: A0.1032818 Composed by Daniell Matter…
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Piano,Viola - Level 4 - Digital Download SKU: A0.1032818 Composed by Daniell Mattern. Contemporary. Score and part. 58 pages. Daniell Mattern #5721229. Published by Daniell Mattern (A0.1032818). Sonata in a Simple Scale for Viola and PianoThe Simple Scale of the title is a series of alternating whole steps and half steps. There are three versions; any particular note will belong to two of the three. Thus, the two scales that include C go up either a whole step from C (C D Eb F F#…) or a half step (C C# D# E F#…); the third scale excludes C entirely (B C# D E F…). These scales allow for a variety of melodies, which often take on a modal character, and familiar chords, including major, minor, and diminished.Although the scale is simple, the Sonata is not for elementary players. The viola range goes to the C two octaves above middle C and there are occasional double and triple stops and stopped harmonics, and frequent meter changes. Also, the unusual scale does not fit the standard fingering patterns for either instrument. That said, the sonata is intended to be enjoyable for proficient, rather than virtuosic, players.In the introduction to the Sonata-Allegro movement, the viola explores motives and intervals, with subtle embellishment from the piano. These phrases build to a three-octave descending presentation of the simple scale; a trill then leads into the main theme. The piano sets up a jaunty accompaniment pattern, over which the viola plays the theme in measure-long segments. The second theme is a long, legato line in the viola that spans two octaves. The viola then sets up a two-measure ostinato, joined by a lumbering piano bass, before the piano treble floats on top with a melancholy closing theme. The development section plays mostly with the main theme, shifting meters as the two instruments engage in dialog. A bridging trill takes us into the recapitulation, but now the viola plays the jaunty accompaniment pattern, and the piano has the main theme. After the return of the second theme, varied in its accompaniment, the piano presents the ostinato of the closing theme, and the viola takes the melody, leading to a quiet and playful finish.In the second movement (Song), the piano begins a slow, rather dark theme, joined by the viola, and ending in a rising question that leads into the second section. Presented simply by the viola, this lilting 7/8 theme has a folk-song quality. It is repeated and embellished several times before the first theme returns, ending in a loud and angry exclamation.The Scherzo is a 6/8 whirlwind. The viola presents rapid repeated notes punctuated with three rising or falling notes; the piano enters gradually until both are giving a forceful statement. In the middle section, the viola sets up a whirling pattern with a drone, while the piano plays a dark version of the closing theme from the first movement. The first theme returns and the movement gallops to a rapid finish.The Rondo begins with an introduction that explores octaves and trills, leading into the main theme, with slightly dissonant 4/4 viola measures alternating with 7/8 answers in the piano. Bridging measures in 5/8 take us into a relaxed, waltz-like interlude of solo viola. A fast section with a touch of fugato follows, with the main theme presented in diminution by the viola at the end. This leads into a second interlude, this one exploring octaves, trills, and clusters in unmetered fragments that the instrumentalists play at their own tempos. The viola then emerges with a confident new theme, joined after a while by the piano. The main theme then returns in a rollicking 3/4 version that brings the piece to a close.
$8.00
7.38 €
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Alto, Piano
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Daniell Mattern
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Sonata in a Simple Scale for Viola and Piano
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Daniell Mattern
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SheetMusicPlus
Fastnet Rock
Flûte traversière et Piano
Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. …
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Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168. Published by Jamie Farrow (A0.1042377). This is a piece for flute and piano duo. Fastnet Rock, home to the Fastnet Lighthouse, is Ireland’s most southerly point situated in the Atlantic Ocean, famous for massive waves that engulf the island during storms. Three photographs (see below) and the lighthouse’s history were my inspiration for this duet, with the different images and ideas that they created, influencing my composition’s structure, themes and ideas at play. The piece starts at sunset and finishes at sunrise, with four sections each representing a different moment that follow a gradually developing structure through the first three sections before a gentle reprise of the ideas from Section 1 (S1) in Section 4 (S4). This gives a cyclicity to the piece, furthered by the tonal regions explored in each of the sections; Ebmaj to Amin to Bmin to Amin to Ebmaj. S1 invokes thoughts of the colours of sunset It is divided into four sub-sections, characterised by either solo flute or flute with piano, with each section exploring a different range of colours generated by their keys. Throughout, accidentals provide additional colour reminiscent of light diffracted during a sunset with the piano in the duo section voiced low in its range adding warmth explored through pivot chords. The flute plays in a very free recitative style, allowing the flautist individual expression emphasising the organicity of sunset as each performer will express this section differently. Section 2 (S2) and Section 3 (S3) are closely related, focusing on night-time through to sunrise in S4, with S2 providing the build up to the events of S3. In S2 the piano plays at the extremes of its range with widely spaced chords and no sense of beat, creating stillness and a sense of uneasiness through the constantly and irregularly beating A. The flute represents the rising storm and wind playing an organically-evolving motif beginning low in range, before gradually adding more notes and slowly rising, eventually reaching a dramatic climax which explores the extremities of its range whilst accelerating into S3. The drama and large gestures of S3 represent an Atlantic storm, a wall of oscillating sound through repeated piano ostinatos and constant use of the sustain pedal. Coupled with the frequently changing time-signature creating a sense of wild waves rolling in the ocean, the chordal bars percussively suggesting waves hitting the island. The flute captures the drama and emotion of the storm and the whistling wind, with long rising and falling gestures exploring the instrument’s very extremities. S4 brings the morning after the storm. We hear the same flute idea as in S1, this time played in the sadder Amin, communicating a sense of loss and despair following the storm. The piano emulates the now gently lapping waves against the rocks of Fastnet with the triplet motif in the bass. The right-hand of the piano plays a chordal accompaniment as in S1 but much slower, representing the slowly emerging colours of a sunrise which become richer and richer like the chords before the sunrise in the final few bars with a move into Ebmaj.
$2.99
2.76 €
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Flûte traversière et Piano
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Jamie Farrow
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Fastnet Rock
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Jamie Farrow
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SheetMusicPlus
Wind Quintet - One Rule
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.
$35.00
32.27 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Mike Lyons
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Wind Quintet - One Rule
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Lyons Music Services
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SheetMusicPlus
Hymn to the Holy Trinity — anthem for SAB voices, organ
Chorale 3 parties
Choral Choir (SAB) - Level 2 - Digital Download SKU: A0.1042625 Composed by Todd Ma…
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Choral Choir (SAB) - Level 2 - Digital Download SKU: A0.1042625 Composed by Todd Marchand. Sacred. Octavo. 7 pages. Con Spirito Music #647400. Published by Con Spirito Music (A0.1042625). Tobias Clausnitzer (1619-1684) was a German Lutheran pastor and writer of theological treatises, sermons, and hymns. His best-known hymn, perhaps, is Liebster Jesu wir sind bier, translated to English and published as Blessed Jesus, at thy word by the English hymn-writer and educator Catherine Winkworth (1827-1878) in her Lyra Germanica — Hymns for the Sundays and Chief Festivals of the Christian Year, translated from the German (1858), and repeated in her Chorale Book for England (1863). Winkworth was also translator for Clausnitzer's Wir glauben all an einen Gott, Yater, Sohn und heilgen Geist (We all believe in one true God, Father, Son, and Holy Ghost), a metrical paraphrase of the Apostles Creed designated for Trinity Sunday in the Culmbach-Bayreuth Gesang-Buch (1668). Winkworth also included this in her Chorale Book for England.This new musical setting, mostly in unison and briefly expanding to three-part harmony at the peak of each verse, is very singable by small and developing choirs composed of soprano, alto, and baritone/bass voices. The accompaniment, with sustained tones, is best realized on organ.The opening phrase, We all believe in one true God, may be sung by a solo male voice, similar to the opening intonation of a chanted canticle or psalm. Dynamic contrasts (crescendi and decrescendi) throughout follow the rising and falling of the melodic line and should be carefully observed. ©Copyright 2022 Todd Marchand / ConSpiritoMusic. Visit www.conspiritomusic.com
$2.00
1.84 €
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Chorale 3 parties
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Todd Marchand
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Hymn to the Holy Trinity — anthem for SAB voices, organ
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Con Spirito Music
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SheetMusicPlus
Midnight Ocean
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.921835 Composed by Ben Vining. 20…
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Concert Band - Level 3 - Digital Download SKU: A0.921835 Composed by Ben Vining. 20th Century,Contemporary. Score and parts. 5 pages. Ben Vining #5191031. Published by Ben Vining (A0.921835). Midnight Ocean is a piece for concert band with an unconventional visual score. Midnight Ocean results in slow, swirling waves of overlapping notes and harmonies that slowly rise and fall throughout the entire ensemble's range, evoking the rising and falling of ocean waves. Midnight Ocean won the 2015 Redshift Music Society's Call For Scores and has been performed by the Arizona State University wind bands.
$9.99
9.21 €
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Orchestre d'harmonie
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Ben Vining
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Midnight Ocean
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Ben Vining
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SheetMusicPlus
PIANO SONATA
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1477723 Composed by Aaron Robinson.…
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Piano Solo - Level 5 - Digital Download SKU: A0.1477723 Composed by Aaron Robinson. 20th Century,Classical. Score. 55 pages. Music at Immanuel #1055103. Published by Music at Immanuel (A0.1477723). Dedicated to pianist Eric Xi Xin Liang, PIANO SONATA by American composer Aaron Robinson is a programmatic work on a monumental scale. Composed in four movements representing four areas of Maine: Machigonne (Portland), Down East, Malaga Island and Katahdin, each paints a detailed portrait of a specific time and place in the State’s history. Its compositional structure draws heavily on the sights and sounds associated with each region while weaving original themes throughout. Mimesis is used to represent the native calls of the indigenous birds found within the state, such as the phoebe, bobolink and the pileated woodpecker; while hymns, songs and sea shanties are incorporated to represent various time periods. Movement I - MACHIGONNE - Native Americans originally named what is today the Portland peninsula of Maine “Machigonne”, which translates “Great Neck”. The movement quotes several sacred and ritual songs of the Passamaquoddy Tribe of Maine. The struggle between centuries of habitation by the native peoples of the area is represented by the arrival of early settlers and illustrated by juxtaposing hymn tunes and dance music of the past eras.Movement II - DOWN EAST - is the eastern coastal area of the state closely associated with the French territory of Acadia. Replete with historic sea shanties and tunes, the sound of tolling ship and buoy bells, lighthouse fog horns, and ocean winds are intertwined to create a high-spirited journey which culminates in the familiar Shaker tune from Alfred, Maine.Movement III - MALAGA ISLAND - Today an uninhabited reserve, Malaga Island was once the home to an interracial community dating from the 1860s to 1911, when its residents were forcibly evicted by the State. The opening theme represents the remnants of the island in its present state; haunted by the memories and unsettling muted solitude of the past and its historical injustice. A peaceful hymn depicting simpler times becomes slowly unraveled, erupting in a traumatic chaos that is never resolved. A ghostly refrain can be heard in the distance as the movement concludes.Movement IV - KATAHDIN - Mount Katahdin (“Catahdrin”), called “Great Mountain” by the Penobscot Native Americans, is located within the Northeast Piscataquis County, the northern terminus of the Appalachian Trail. The grandeur of its majesty is portrayed by the original themes depicting epic rising and falling passages traversing over centuries. Native Americans believed the mountain to be the home of the storm god Pamola (a place to be avoided), which is characterized by ever-changing major and minor keys within the often times turbulent motifs. The sonata ends in a tonal key: bringing the atonality and discordant change of the work and its representation as a whole to a final resolve.PIANO SONATA lasts approximately 25 minutes.
$9.99
9.21 €
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Piano seul
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Aaron Robinson
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PIANO SONATA
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Music at Immanuel
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SheetMusicPlus
Simpler Times - Violin & Piano
Violon et Piano
Piano,Violin - Level 3 - Digital Download SKU: A0.573372 Composed by James Michael …
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Piano,Violin - Level 3 - Digital Download SKU: A0.573372 Composed by James Michael Stevens. Arranged by James Michael Stevens. 20th Century,Contemporary,Sacred,Wedding,World. 8 pages. James M Stevens Music ASCAP #5352843. Published by James M Stevens Music ASCAP (A0.573372). Written April 1, 2020, this is an original violin and piano composition in a flowing and peaceful style with gentle moments of rising and falling in the key of C major. May God bring healing to our world. There is a separate violin part in the score and the piano part as seen can serve as a stand alone solo. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.
$6.99
6.44 €
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Violon et Piano
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James Michael Stevens
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James Michael Stevens
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Simpler Times - Violin & Piano
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James M Stevens Music ASCAP
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SheetMusicPlus
Hark! The Herald Angels Sing
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1125814 By Michael Swedberg. By Fel…
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Piano Solo - Level 5 - Digital Download SKU: A0.1125814 By Michael Swedberg. By Felix Bartholdy Mendelssohn. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages. Niska Music Publishing #726554. Published by Niska Music Publishing (A0.1125814). Once again the influence of George Winston and Mannheim Steamroller can be heard as this prelude begins with a burst of joy and energy that does not subside, but only grows with each verse. The changing meters make this piece a challenge to play and requires a strong technique to handle some of the scale passages. This arrangement is a far cry from the original music of Mendelssohn, but the lyrics inspired me to create something full of vibrancy and passion to match the glorious news that the angels came to deliver! The first verse establishes the 5/4 meter heard throughout the prelude and is filled with the pealing of church bells in the right hand as they send forth the melody in octaves! Meanwhile, the left hand continues the broken chord pattern established in the opening. In the next verse, the left hand is now rising and falling, while the right is still playing the melody in octaves. Only now it is filling the spaces with eighth notes to match the left hand…essentially combining the two hands of the previous verse. For the final verse, the left hand takes on the orchestral role of brass and percussion with thunderous chords punctuating the rhythm of the melody in the right hand. There are moments of fireworks as the hands break free of the 5/4 meter for some wonderful, albeit brief, scales which increase the growing excitement. The piece concludes with a return of the rhythmic material from the opening as the hands work their way down the piano in arpeggiated fashion only to race back up the keyboard for a final flourish before a resounding Amen: Hail the heaven-born Prince of Peace! Glory to the new-born King!
$3.99
3.68 €
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Piano seul
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Michael Swedberg
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Terrence Niska
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Hark! The Herald Angels Sing
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Niska Music Publishing
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SheetMusicPlus
The Rising Fighting Spirit
Acoustic Guitar,Drum Set,Electric Guitar,Flute,Keyboard,String Synthesizer - Digital Downl…
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Acoustic Guitar,Drum Set,Electric Guitar,Flute,Keyboard,String Synthesizer - Digital Download SKU: A0.489372 Composed by Toshio Masuda. Arranged by Gabriel Melo. Film/TV,Rock. 16 pages. Falling Notes #105771. Published by Falling Notes (A0.489372). Original Sound Track music from Naruto Anime. Get your friends and play this classical battle theme.
$25.00
23.05 €
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Toshio Masuda
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Gabriel Melo
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The Rising Fighting Spirit
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Falling Notes
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SheetMusicPlus
Rising and Falling
Cl. BCl. - Intermediate - Digital Download SKU: F2.FM735 Composed by Liz Sharma. A …
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Cl. BCl. - Intermediate - Digital Download SKU: F2.FM735 Composed by Liz Sharma. A set of duets which can be played by friends, or students with teachers, for concert performances, or just for fun. These can be played by more or less any two instruments in the same key, & they work equally well for clarinet & bass clarinet, C clarinet. Score. 3 pages. Forton Music - Digital #FM735. Published by Forton Music - Digital (F2.FM735). ISBN 9790570486342.
$7.95
7.33 €
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Liz Sharma
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Rising and Falling
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Forton Music - Digital
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SheetMusicPlus
Angels We Have Heard on High - brass quintet
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Composed by French noel. Arranged by Todd Marchand. Christian, Sacred, Christmas. Score, S…
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Composed by French noel. Arranged by Todd Marchand. Christian, Sacred, Christmas. Score, Set of Parts. 16 pages. Published by Con Spirito Music (S0.250825). - Score,Set of Parts - Christian,Sacred,Christmas - Con Spirito Music
?Angels We Have Heard on High? (?Gloria?) is a Christmas carol based on an 18th-century French noel, ?Les Anges Dans Nos Campagnes.? The well-known English-language version of the carol with text by James Chadwick (1813-1882) retains the tune of the French noel, though Chadwick?s text is a largely original adaptation, with parts only loosely translated from the French. The carol commemorates the birth of Jesus as told in the Gospel of St. Luke, and its chorus recalls the ?multitude of the heavenly host praising God and saying, ?Glory to God in the highest?.?? (Luke 2:13-14). The signature feature of the chorus is a rising and falling melisma on the ?o? vowel of ?Gloria? ? thus, the tune is often ascribed the name ?Gloria.? Its familiar harmonization was written by the American organist and composer Edward Shippen Barnes (1887-1958) in 1937. In this festive arrangement, the tune and refrain are presented multiple times in a variety of keys, harmonizations, and orchestration. ©Copyright 2017 Todd Marchand / ConSpiritoMusic.com?Angels We Have Heard on High? (?Gloria?) is a Christmas carol based on an 18th-century French noel, ?Les Anges Dans Nos Campagnes.? The well-known English-language version of the carol with text by James Chadwick (1813-1882) retains the tune of the French noel, though Chadwick?s text is a largely original adaptation, with parts only loosely translated from the French. The carol commemorates the birth of Jesus as told in the Gospel of St. Luke, and its chorus recalls the ?multitude of the heavenly host praising God and saying, ?Glory to God in the highest?.?? (Luke 2:13-14). The signature feature of the chorus is a rising and falling melisma on the ?o? vowel of ?Gloria? ? thus, the tune is often ascribed the name ?Gloria.? Its familiar harmonization was written by the American organist and composer Edward Shippen Barnes (1887-1958) in 1937. In this festive arrangement, the tune and refrain are presented multiple times in a variety of keys, harmonizations, and orchestration. ©Copyright 2017 Todd Marchand / ConSpiritoMusic.com
$15.00
13.83 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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French noel
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Todd Marchand
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Angels We Have Heard on High - brass quintet
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Con Spirito Music
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SheetMusicPlus
Jesus Christ the Apple Tree — SATB voices
Chorale SATB
Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1495196 Compos…
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Choral Choir,Choral,SATB Chorus - Level 3 - Digital Download SKU: A0.1495196 Composed by Todd Marchand. A Cappella,Christian,Christmas,Folk,Sacred. 4 pages. Con Spirito Music #1071742. Published by Con Spirito Music (A0.1495196). Jesus Christ the Apple Tree is the commonly used title for a poem published under the heading Christ compared to an Apple-tree in the August 1761 issue of The Spiritual Magazine, a London periodical for Calvinist Baptists.Above the poem in the publication are words of its author:Gentlemen,Having spent some of my vacant time in the composition of short pieces of Divine Poetry, have sent you the following, by way of specimen; which, if thought worthy of a place in your magazine, shall communicate the others regularly. I am your well-wisher and constant reader, R.H.R.H. is today believed to most likely be the Rev. Richard Hutchins, a Calvinist Baptist clergyman then serving in Long Buckby, Northamptonshire. The poem's first known appearance in a hymnal, and in America, was in 1784 in Divine Hymns, or Spiritual Songs: for the use of Religious Assemblies and Private Christians compiled by Joshua Smith, a lay Baptist minister from New Hampshire. Because of its popularity in New England churches thereafter, it has often been wrongly attributed to an anonymous early American poet or to Smith.The poem may be an allusion to the apple tree in Song of Solomon 2:3 (As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste), which has been interpreted as a metaphor for Jesus. It also alludes to other descriptions of the tree of life in both the Old and New Testaments. Primitive yet profound, Jesus Christ the Apple Tree has been set to music by many composers, including a very popular setting by Elizabeth Poston (1905-1987). This new setting for unaccompanied SATB voices captures the rustic quality of the text with a rising-and-falling folksong-like melody, attractively harmonized. Voices realized by Cantamus (https://cantamus.app/)©Copyright 2024 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, folk, patritic, and popular music for instruments and voices, visit www.conspiritomusic.com
$2.99
2.76 €
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Chorale SATB
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Todd Marchand
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Jesus Christ the Apple Tree — SATB voices
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Con Spirito Music
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SheetMusicPlus
Under the Painted Sky for SA and piano by Martha Hill Duncan, Poetry by Janet Windeler Ryan
Chorale 2 parties
Choral Choir (SA) - Level 2 - Digital Download SKU: A0.969159 Composed by Martha Hi…
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Choral Choir (SA) - Level 2 - Digital Download SKU: A0.969159 Composed by Martha Hill Duncan. Children,Contemporary. Octavo. 7 pages. Martha Hill Duncan #6132985. Published by Martha Hill Duncan (A0.969159). Under the Painted Sky All is calm, the night is falling down the sun the moon is climbing slowly in the sky the slarlight's curtain rising. Blue, the sky of daytime deepens, Yellow sun burns gold, then red, then slips away when the moon shines white as snow. The sky's a colored canvas, all a-glow. As we end another busy day of time and dreams to fill Under the painted sky all safe and warm and sleepy and still. © 2013 Janet Windeler Ryan From Searching the Painted Sky, The Opera
$2.14
1.97 €
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Chorale 2 parties
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Martha Hill Duncan
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Under the Painted Sky for SA and piano by Martha Hill Duncan, Poetry by Janet Windeler Ryan
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Martha Hill Duncan
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SheetMusicPlus
Polovtzian Dances - Love Theme
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1219891 Composed by Alexander Borod…
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Piano Solo - Level 3 - Digital Download SKU: A0.1219891 Composed by Alexander Borodin. Arranged by Martin Neill. Film/TV,Romantic Period. Score. 2 pages. Martin Neill #816257. Published by Martin Neill (A0.1219891). This beautiful melody has been given a more pianistic touch with a gently rising and falling left hand accompaniment. Some will know this melody as the popular song 'Stranger in Paradise'.Martin Neill is a professional composer and arranger based in the UK. He has won many international composition competitions, and his music is published by Starshine, Chichester Music Press and others. His arrangements show great attention to detail, including phrasing, dynamics and fingering suggestions, which is why they are popular with tens of thousands of musicians around the globe.
$4.99
4.6 €
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Piano seul
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Alexander Borodin
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Martin Neill
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Polovtzian Dances - Love Theme
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Martin Neill
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SheetMusicPlus
Serenade for Strings "ROCKY"
String Ensemble Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.148…
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String Ensemble Cello,Double Bass,Viola,Violin - Level 4 - Digital Download SKU: A0.1488211 Composed by Han-Ki Kim. Chamber,Classical,Contemporary,Instructional,Romantic Period. 57 pages. Han-Ki Kim #1065097. Published by Han-Ki Kim (A0.1488211). The great nature of Canada is impressive in itself. The grandeur and vastness felt in the Rocky Mountains naturally evokes a sense of greatness and awe for nature. In late July 2024, when I was composing this music, smoke from the Jasper wildfires was carried by the wind to Calgary, more than 300 km away, and it seemed as if the entire city was covered in fog. It seems that even the huge wildfires are an irresistible force of nature that cannot be controlled by human power. I am delighted to leave a “Serenade for Strings” titled “Rocky” in history. The first movement is composed in the traditional sonata form with the theme of “Brilliant Rocky,” and progresses with two contrasting themes: a lively first theme and a beautiful one. The second movement is composed with the title of “Magnificent Rocky,” and expresses the beautiful and majestic scenery of the Rockies. The third movement is developed under the theme of “Memories and Reminiscences of Rocky,” and overall, it expresses the process of climbing and descending to the top of Rocky and the excitement of the heart. The short episodes that unfold between the themes express various scenes of Rocky, and the technique of expanding and contracting notes is used to express tension, vitality, and an atmosphere of passion. The rising and falling musical figures visually and symbolically express the shapes of high mountains and the foothills.
$34.90
32.17 €
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Han-Ki Kim
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Serenade for Strings "ROCKY"
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Han-Ki Kim
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SheetMusicPlus
Prelude Op. 2, No. 15 in Db major
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.950911 Composed by Terrence Niska. …
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Piano Solo - Level 4 - Digital Download SKU: A0.950911 Composed by Terrence Niska. 20th Century,Contemporary. Score. 8 pages. Niska Music Publishing #6361465. Published by Niska Music Publishing (A0.950911). This prelude is bursting with joy and hope! The rising and falling swells in the left hand reflect the sun coming up over the ocean waves, lapping at the shore. A majestic eagle takes to the sky, witnessing the glory of a new day. From a technique standpoint, there is a great deal of crossing of hands requiring an almost ballet-like choreography between the hands.
$3.99
3.68 €
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Piano seul
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Terrence Niska
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Prelude Op. 2, No. 15 in Db major
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Niska Music Publishing
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SheetMusicPlus
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Rising and Falling
