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--INSTRUMENTS--
ACCORDEON
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Scherzo Variations for Organ
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Scherzo Variations for Organ
Partitions à imprimer
10 partitions trouvées
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1
Scherzo Variations for Organ
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Orgue
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Contemporain
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James Gardner
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Scherzo Variations for Organ
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James Gardner
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SheetMusicPlus
Organ - SKU: A0.982064 Composed by James Gardner. Contemporary. Score. 12 pages. James Gardner #5992107. Published by James Gardner (A0.982064). ...
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Organ - SKU: A0.982064 Composed by James Gardner. Contemporary. Score. 12 pages. James Gardner #5992107. Published by James Gardner (A0.982064). These variations on Estela, a bittersweet little folk tune, are intended for a virtuoso showcase of the organ's flexibility as far as style and technique is concerned. I would hope it will provide the organist a fun work for concerts as an alternative to the more serious repertoire one usually hears.
$8.99
Theme And Variations On TRSCH For Organ
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Orgue
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AVANCÉ
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Thomas R
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Theme And Variations On TRSCH
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Thomas R. Schadl
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SheetMusicPlus
Organ - Level 5 - SKU: A0.912505 Composed by Thomas R. Schadl. Concert,Contemporary,Instructional,Standards. Score. 29 pages. Thomas R. Schadl #6201739....
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Organ - Level 5 - SKU: A0.912505 Composed by Thomas R. Schadl. Concert,Contemporary,Instructional,Standards. Score. 29 pages. Thomas R. Schadl #6201739. Published by Thomas R. Schadl (A0.912505). Theme and Variations on TRSCH is a piece that is suitable for concert use. As one plays the piece, one shall realize that each variation has its own character. The work also may be used for educational purposes in that it teaches students on how a theme is transformed rhythmically and arranged melodically.Theme And Variations On TRSCH For Organ by Thomas R. Schadl consists of seven variations that are based on TRSCH (B flat, D, E flat, C, and B or A# D D# C B). It is written using the serial technique, the compositional method where a row of notes are arranged in direct, reverse, inverse and retrograde-inverse orders. The technique employed is not as strict as the 12-tone system used in the compositions of Arnold Schoenberg and Anton Webern. In a standard theme and variations form, the melody may be altered by adding or subtracting notes, or changing it rhythmically, but it is not the case in the piece being discussed. Most variations do not follow the rhythmic pattern of the main theme; rather, the theme in each variation is treated in fragments, lengthened note values, shortened note values, inversions and reversed orders. Each variation explores moods and the work is organized this way:Main Theme: m 1-6 TRSCH is stated in the bass.Variation I: m 7-22 FugatoVariation II m 23-50 Mystical quality and lyrical Variation III m 51-88 Scherzo, lyrical section, scherzoVariation IV m 89-116 ToccataVariation V m 117-224 Mystical mood, scherzo, mystical moodVariation VI m 225-297 Toccata, brief lyrical section, toccataVariation VII m 298-317 Variation I but at a slower speed.Forward ReverseA# D D# C B F F # A G# EF# A# B G# G C# D F E CF A A# G F# C C# E D# BG# C C# A# A D# E G F# DA C# D B A# E F G# G D#
$21.82
4 Pieces for 3 Flutes
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Trio de Flûtes: 3 flûtes
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Julian Harvey
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4 Pieces for 3 Flutes
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Julian Harvey
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Flute - Level 4 - SKU: A0.954517 Composed by Julian Harvey. Contemporary. 44 pages. Julian Harvey #3926177. Published by...
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Woodwind Ensemble,Woodwind Trio Flute - Level 4 - SKU: A0.954517 Composed by Julian Harvey. Contemporary. 44 pages. Julian Harvey #3926177. Published by Julian Harvey (A0.954517). 4 Pieces for 3 Flutes can be played separately or as a set. The work is intended for intermediate to advanced flutists and an average audience will find it quite accessible. The titles of the four pieces are Flute Fare, Scherzo, Reminiscence and Variations on an Original Hymn Tune. The second theme of Flute Fare appears in a very different guise in Reminiscence. The duration is approximately 14'48. Three young players selected the first movement out of a group of pieces for performance and played it very well. My performing rights organization is BMI.
$15.00
Partita on Sweet Hour ('Sweet Hour of Prayer')
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Orgue
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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contrast, variation three, in
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John Burkett
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John Burkett
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Partita on Sweet Hour
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John Burkett
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SheetMusicPlus
Organ - Level 4 - SKU: A0.1370464 Composed by John Burkett. Arranged by John Burkett. Classical,Contemporary,Praise & Worship,Sacred. Score. 23 pages. J...
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Organ - Level 4 - SKU: A0.1370464 Composed by John Burkett. Arranged by John Burkett. Classical,Contemporary,Praise & Worship,Sacred. Score. 23 pages. John Burkett #954835. Published by John Burkett (A0.1370464). My Partita on Sweet Hour (Sweet Hour of Prayer) presents the theme with an original 4-part harmonization followed by five variations. The first variation is a duo in which the tune is set against a continuous stream of sixteenth notes as accompaniment. The second variation is a waltz in the key of F-sharp major in which an ornamented and expanded version of the melody is accompanied by a modified um-pah-pah accompaniment played by the feet and left hand. By contrast, variation three, in the key of B minor, moves at a much slower pace and conveys a rather sombre mood. The next variation set in 5/8 meter is somewhat like a scherzo. Each phrase of the melody is in a different key and has modal inflections that lends it a mildly exotic character The fifth and final variation is a toccata in the French style that requires panache and bravura. The tune is intoned in slow moving rhythm by the feet while the hands provide a rapidly moving sextuplet accompaniment. I have provided a full-length recording to aid the prospective buyer in the decision-making process. I encourage you to search the Sheet Music Plus or the Sheet Music Direct website for other hymn arrangements of mine, some for organ and others for piano.
$22.00
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Symphony No. 3 in A minor, op. 17
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Orchestre
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Come and Praise, Vol. 4
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Orgue
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INTERMÉDIAIRE
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Mark Sedio
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Come and Praise, Vol. 4
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Augsburg Fortress - Digital
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SheetMusicPlus
Organ - Intermediate - SKU: XA.9798889833031 Composed by Mark Sedio. General. Christian. Score. 48 pages. Augsburg Fortress - Digital #9798889833031. Pu...
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Organ - Intermediate - SKU: XA.9798889833031 Composed by Mark Sedio. General. Christian. Score. 48 pages. Augsburg Fortress - Digital #9798889833031. Published by Augsburg Fortress - Digital (XA.9798889833031). ISBN 9798889833031. 9 x 12 inches.With great variety and creative sparkle, Mark Sedio’s fourth volume in the Come and Praise series offers several short pieces ideal for hymn introductions or interludes along with some alternate hymn harmonizations. Also included are three extended hymn tune variations and his original piece Scherzo Piccolo, which is a light and rhythmically charming piece. Extremely useful with a great mix of tunes and styles.
$24.00
Piano Sonata No. 5, op. 81
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Piano seul
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Piano Sonata No. 5, op. 81
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Adrian Gagiu
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SheetMusicPlus
Instrumental Solo - Level 5 - SKU: A0.1091262 Composed by Adrian Gagiu. Classical,Contemporary. Individual part. 28 pages. Adrian Gagiu #695427. Publish...
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Instrumental Solo - Level 5 - SKU: A0.1091262 Composed by Adrian Gagiu. Classical,Contemporary. Individual part. 28 pages. Adrian Gagiu #695427. Published by Adrian Gagiu (A0.1091262). Piano sonata in Neoclassical style, developing the themes briefly tried out by Beethoven in the slow introduction to the Finale of his Sonata No. 29 op. 106 (1818). This first movement (Allegro moderato) utilizes the first two of those melodic and textural scraps as the two themes of a sonata form in a mostly delicate, fantasia-like manner, with time signature ambiguity and alternance. The second movement (Allegro) utilizes the next two of those melodic and textural scraps as the two themes of an agitated 'scherzo' in G sharp minor, with allusions to Bach's Prelude in C minor from the second book of 'The Well-Tempered Clavier' and to Beethoven's Bagatelle in G minor, op. 126 no. 2. The Finale (Largo - Allegro ma non troppo) utilizes first the searching sections of that Introduction, as an enigmatic preparation of the big surprise in the Finale proper: a set of nine, mostly powerful variations on a tone row, yet treated not entirely with the twelve-tone technique, but in extended tonality context. Variations 2-5 allude to motifs from the themes of the previous movements. The mp3 is a self-made recording of the first movement using a Graf 1826 fortepiano sampled by Modartt's Pianoteq. Performing Rights Organization: SOCAN. Total duration: 19 min.
$12.99
String Quartet No. 1, op. 12
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Adrian Gagiu
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String Quartet No. 1, op. 12
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Adrian Gagiu
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.1004707 Composed by Adrian Gagiu. 20th Century,Contemporary. Score and parts. 132 pages. Adrian Gagiu ...
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String Quartet String Quartet - Level 4 - SKU: A0.1004707 Composed by Adrian Gagiu. 20th Century,Contemporary. Score and parts. 132 pages. Adrian Gagiu #5038243. Published by Adrian Gagiu (A0.1004707). String Quartet No. 1 in A minor, op. 12 (1999), a cyclic composition in Neo-Classical style, partly influenced by Romanian folk music, Shostakovich and Bartok. Its compositional language, while not avant-garde and not exceedingly difficult, might help students with some aspects of modern music and liberties taken with classical forms. The first movement (Larghetto - Allegro non troppo) presents first dramatically and mysteriously the core motifs and themes of the entire composition, followed by a surprisingly relaxed sonata movement in the relative key of C major. The following Scherzo (Allegro assai), in E major, plays humorously and vigorously with derived motifs, and the third movement (Adagio assai), in F sharp minor, is treated in variations on the Romanian Christmas carol La Vitleem colo jos ('Down at Bethlehem'). The dramatic and expanding sonata form of the fourth movement (Allegro con brio - Larghetto) returns finally to the A minor of the introduction, then dissolving into the transcendent, slow coda. The mp3 audio clip is a recording of the finale. Total duration 26 min. Performing Rights Organization: SOCAN.
$27.95
Piano Trio, op. 65
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Contemporain
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Adrian Gagiu
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Piano Trio, op. 65
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Adrian Gagiu
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.1004696 Composed by Adrian Gagiu. 20th Century,Contemporary. Score and parts. 99 pages. Adrian Gagiu #429...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.1004696 Composed by Adrian Gagiu. 20th Century,Contemporary. Score and parts. 99 pages. Adrian Gagiu #4298307. Published by Adrian Gagiu (A0.1004696). Trio for violin, cello and piano in A major is a neoclassical, cyclical, developed, and mostly lyrical composition. Its first movement (Allegro aperto) is a peculiar sonata form with varied repetition of exposition. The fiery scherzo (Vivace con brio) is a peculiar form with two varied statements of trio section and other harmonic changes, while the Finale (Adagio affettuoso) is treated in seven, mostly lyrical variations, at times playful or ecstatic. The mp3 audio clip is the second movement. Total duration: 28 min. Performing Rights Organization: SOCAN.
$44.00
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Scherzo Variations for Organ