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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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ACCORDEON
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Vous avez sélectionné:
Six Fragments
Partitions à imprimer
28 partitions trouvées
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Six Fragments
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.998887 Composed by Robert A. Howard…
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Piano Solo - Level 2 - Digital Download SKU: A0.998887 Composed by Robert A. Howard. 21st Century,Classical,Contemporary,Contest,Festival,Instructional. Score. 14 pages. Robert A. Howard #6487369. Published by Robert A. Howard (A0.998887). This is the complete set of six piano pieces entitled Fragments (I-VI). The Fragment series was conceived specifically for almost any pianist to perform, from the early grade student through to the professional. As suggested in the title, each piece is based on a single compositional fragment or sketch that had otherwise remained incomplete and dormant. The cycle draws on a wide range of compositional techniques, and even styles, whilst always operating within the composer's own idiom. The piece is highly accessible. Each movement within this set is also available to purchase individually via Sheet Music Plus.Duration: 18 minutes 45 seconds.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk
$12.99
11.97 €
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Piano seul
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Robert A
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Six Fragments
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Robert A. Howard
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SheetMusicPlus
Fragments from his dish
Chorale SATB
SATB chorus a cappella - Digital Download A cycle of six choral pieces on the theme o…
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SATB chorus a cappella - Digital Download A cycle of six choral pieces on the theme of food. Composed by Bob Chilcott. Sheet music. Octavo. 33 pages. Oxford University Press Digital #9780193704947. Published by Oxford University Press Digital
$3.25
2.99 €
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Chorale SATB
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Fragments from his dish
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Oxford University Press Digital
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SheetMusicPlus
Arizona Centennial Overture - Chamber Orchestra Version
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.755102 Composed by Sy Brando…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.755102 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 107 pages. Sy Brandon #3384583. Published by Sy Brandon (A0.755102). Arizona Centennial Overture was commissioned by the Arizona Commission on the Arts as part of the Centennial Legacy Project to help celebrate Arizona’s centennial. There are three versions of the compositions, chamber orchestra, full orchestra, and band. The overture pays tribute to the unique blend of the various cultures that had a part in shaping Arizona into what it is today. This six and a half minute composition is divided into three main sections. The first section begins with fanfares that announce the celebration. After thirty seconds, the introduction fades into music that pays tribute to the pioneers that migrated to Arizona. The music has a rustic quality reflecting the pioneering spirit of the ranchers, farmers, miners, and merchants who came to Arizona seeking a better way of life. This section is intended to be inclusive as it is impossible to represent each culture individually in a short musical composition. The second section pays tribute to the various Native American cultures that are a large part of Arizona’s history and its present way of life. Flutes and percussion instruments are used in the beginning of this section to represent the Native American respect for nature. This quiet section evolves into a ceremonial dance that increases in intensity. Towards the end of this section one hears fragments of the pioneer melody as these culture come together. The third section is influenced by Mariachi music to recognize the Hispanic influence in Arizona. The first part uses an original rollicking tune with four beats to the measure over syncopation. The second part contains a lyrical melody with three beats to the measure accompanied by instruments playing accents that create the Hispanic sounding grouping of six notes into three groups of two alternating with two groups of three. A brief ending using the fanfares of celebration interspersed with figures from the Native American and pioneer sections brings the work to a rousing close. The score prints on legal size paper and the parts on letter.
$39.99
36.84 €
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Orchestre de chambre
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Sy Brandon
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Arizona Centennial Overture - Chamber Orchestra Version
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Sy Brandon
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SheetMusicPlus
Arizona Centennial Overture - Band Version
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.755100 Composed by Sy Brandon. 20…
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Concert Band - Level 4 - Digital Download SKU: A0.755100 Composed by Sy Brandon. 20th Century,Concert,Contemporary,Folk. Score and parts. 130 pages. Sy Brandon #3384569. Published by Sy Brandon (A0.755100). Arizona Centennial Overture was commissioned by the Arizona Commission on the Arts as part of the Centennial Legacy Project to help celebrate Arizona’s centennial. There are three versions of the compositions, chamber orchestra, full orchestra, and band. The overture pays tribute to the unique blend of the various cultures that had a part in shaping Arizona into what it is today. This six and a half minute composition is divided into three main sections. The first section begins with fanfares that announce the celebration. After thirty seconds, the introduction fades into music that pays tribute to the pioneers that migrated to Arizona. The music has a rustic quality reflecting the pioneering spirit of the ranchers, farmers, miners, and merchants who came to Arizona seeking a better way of life. This section is intended to be inclusive as it is impossible to represent each culture individually in a short musical composition. The second section pays tribute to the various Native American cultures that are a large part of Arizona’s history and its present way of life. Flutes and percussion instruments are used in the beginning of this section to represent the Native American respect for nature. This quiet section evolves into a ceremonial dance that increases in intensity. Towards the end of this section one hears fragments of the pioneer melody as these culture come together. The third section is influenced by Mariachi music to recognize the Hispanic influence in Arizona. The first part uses an original rollicking tune with four beats to the measure over syncopation. The second part contains a lyrical melody with three beats to the measure accompanied by instruments playing accents that create the Hispanic sounding grouping of six notes into three groups of two alternating with two groups of three. A brief ending using the fanfares of celebration interspersed with figures from the Native American and pioneer sections brings the work to a rousing close.The score prints on legal size paper and the parts on letter.
$39.99
36.84 €
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Orchestre d'harmonie
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Sy Brandon
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Arizona Centennial Overture - Band Version
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Sy Brandon
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SheetMusicPlus
Arizona Centennial Overture - Orchestra Version
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.755101 Composed by Sy Brandon. …
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Full Orchestra - Level 4 - Digital Download SKU: A0.755101 Composed by Sy Brandon. 20th Century,Concert,Contemporary,Folk. Score and parts. 124 pages. Sy Brandon #3384577. Published by Sy Brandon (A0.755101). Arizona Centennial Overture was commissioned by the Arizona Commission on the Arts as part of the Centennial Legacy Project to help celebrate Arizona’s centennial. There are three versions of the compositions, chamber orchestra, full orchestra, and band. The overture pays tribute to the unique blend of the various cultures that had a part in shaping Arizona into what it is today. This six and a half minute composition is divided into three main sections. The first section begins with fanfares that announce the celebration. After thirty seconds, the introduction fades into music that pays tribute to the pioneers that migrated to Arizona. The music has a rustic quality reflecting the pioneering spirit of the ranchers, farmers, miners, and merchants who came to Arizona seeking a better way of life. This section is intended to be inclusive as it is impossible to represent each culture individually in a short musical composition. The second section pays tribute to the various Native American cultures that are a large part of Arizona’s history and its present way of life. Flutes and percussion instruments are used in the beginning of this section to represent the Native American respect for nature. This quiet section evolves into a ceremonial dance that increases in intensity. Towards the end of this section one hears fragments of the pioneer melody as these culture come together. The third section is influenced by Mariachi music to recognize the Hispanic influence in Arizona. The first part uses an original rollicking tune with four beats to the measure over syncopation. The second part contains a lyrical melody with three beats to the measure accompanied by instruments playing accents that create the Hispanic sounding grouping of six notes into three groups of two alternating with two groups of three. A brief ending using the fanfares of celebration interspersed with figures from the Native American and pioneer sections brings the work to a rousing close.The score prints on legal size paper and the parts on letter.
$39.99
36.84 €
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Orchestre
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Sy Brandon
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Arizona Centennial Overture - Orchestra Version
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Sy Brandon
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SheetMusicPlus
No Longer At Ease for Euphonium Quartet
Euphonium,Low Brass Quartet - Level 5 - Digital Download SKU: A0.1259405 Composed b…
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Euphonium,Low Brass Quartet - Level 5 - Digital Download SKU: A0.1259405 Composed by Matthew Nunes. 21st Century,Chamber,Contemporary. 33 pages. Matthew Nunes Music #852692. Published by Matthew Nunes Music (A0.1259405). Listen to this piece hereBuyer beware, these are the hardest euphonium parts I've written. Be sure to check out my first euphonium quartet Beacons (2014).No Longer at Ease is a stand-alone euphonium quartet inspired by Chinua Achebe’s 1960 novel of the same name. In Achebe’s novel a young man is sent to University by his village’s elders in the hopes he will return able to guide and protect his people through uncertain and unwanted colonialist developments. However, the man abandons their plans to pursue his own interests and faces the fallout of his actions upon his return home and in the volatile years to come. Reading such an affective work in the final semester of my Masters preparing to return home was timely and I have found the similarities between my life and Achebe’s art blurred. I began writing this work upon returning home to Niceville, Florida and realizing that both myself and the town I call home have changed drastically.     The piece begins with jarring sixteenth-notes derived from a rising arpeggiated-tetrachord. Ceaseless double tonguing, the lead in the fourth euphonium, and unsettling metric shifts combine for unique and frenetic effects. A yearning melody enters amidst this chaos and is a musical spelling of “homeâ€. The return and developments of the frenetic material culminates in a solo statement of this theme. The middle section represents the home of years past and features a uniquely Niceville quote with fragments of the Niceville High School fight song. These fragments make up each independent line and the music culminates in a triumphant victory. However, this victory is cut brief by the cutting sixteenth-note driven material from earlier. The finale is an exciting mockery of the “home†theme with interjections and exploitations of all previous themes. - Matthew NunesNiceville, June 2018.
$24.99
23.02 €
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Matthew Nunes
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No Longer At Ease for Euphonium Quartet
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Matthew Nunes Music
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SheetMusicPlus
O Worship the King (HANOVER) — hymn accompaniment for organ, brass quintet, timpani
Horn,Organ Accompaniment,Timpani,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU…
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Horn,Organ Accompaniment,Timpani,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1431445 Composed by William Croft (1678-1727). Arranged by Todd Marchand. Christian,Sacred. 22 pages. Con Spirito Music #1007710. Published by Con Spirito Music (A0.1431445). “O Worship the King” is a free paraphrase of Psalm 104 (largely verses 1-13 and 24-33) by Sir Robert Grant (1779-1838), an Anglo-Indian lawyer who served as a member of Parliament as well as Governor of Bombay. Influenced by William Kethe's paraphrase of the same psalm, Grant's “O Worship the King” first appeared in Edward Bickersteth’s Christian Psalmody (1833) and later appeared in a posthumous volume of Grant’s work, Sacred Poems (1839), edited by his brother Charles.Grant's text includes six verses; many hymnals abbreviate it, leaving off the concluding one. This arrangement, employing the tune HANOVER by William Croft (1678-1727), includes music for verses 1-5, and may be furthered abbreviated to four by eliminating the repeat on verses 1-2. Following an introduction that contrasts short melodic fragments with answering flourishes, the arrangement proceeds as follows: • Verses 1-2: organ accompaniment• Verse 3: brass accompaniment• Verse 4: organ accompaniment with trumpet countermelody• Interlude — organ and brass• Verse 5: organ and brass accompaniment with alternate harmonization• Coda — allThe timpani part may be excluded if no timpani are available.©Copyright 2024 Todd Marchand / Con Spirito Music. All rights reserved. For more sacred, patriotic, folk, and poular music for instruments and voices, visit www.conspiritomusic.com
$25.00
23.03 €
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William Croft
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Todd Marchand
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O Worship the King
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Con Spirito Music
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SheetMusicPlus
Horizons
Hautbois, Harpe
Oboe and harp - Digital Download SKU: OX.9780193202849 Composed by Howard Skempton.…
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Oboe and harp - Digital Download SKU: OX.9780193202849 Composed by Howard Skempton. Score. 15 pages. Oxford University Press Digital #9780193202849. Published by Oxford University Press Digital (OX.9780193202849). ISBN 9780193202849.For oboe and harp. The piece is a suite of six contrasting miniatures built around fragments of melodies which are repeated, each time with subtle variations. Particularly striking is the simple, folk-like melody of the fifth movement and the dissonant, almost grotesque march that precedes it.
$22.25
20.5 €
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Hautbois, Harpe
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Howard Skempton
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Horizons
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Oxford University Press Digital
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SheetMusicPlus
Fragment för kvinnoröster
Chorale SSAA
SSAA chorus - Digital Download SKU: BJ.1109 Fragments for Women's Voices. Co…
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SSAA chorus - Digital Download SKU: BJ.1109 Fragments for Women's Voices. Composed by Hans Lundgren. Octavo. 25 pages. Bo Ejeby Forlag - Digital #1109. Published by Bo Ejeby Forlag - Digital (BJ.1109). 8.27 x 11.7 inches.A composition in six parts with lyrics by Swedish and Finland-Swedish female poets(Maria Wine, Bodil Malmsten, Märta Tikkanen, Görel Söderberg, Edith Södergran & Karin Boye). Full of love and feminism. Written to the Linköping choir Linnea´s 10 anniversary. Lyrics in both Swedish and English. English translation by Ingrid Eng.
$7.00
6.45 €
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Chorale SSAA
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Hans Lundgren
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Fragment för kvinnoröster
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Bo Ejeby Forlag - Digital
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SheetMusicPlus
Madrigals for Spring for SATB Chorus a Capella
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.939682 Composed by Richard…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.939682 Composed by Richard St. Clair. 20th Century,A Cappella. Octavo. 32 pages. Richard St. Clair #3000585. Published by Richard St. Clair (A0.939682). Six poetic fragments by Percy Bysshe Shelley for a capella SATB voices, this collection can be sung by a small ensemble or a medium-size choir. The music is all tonal, but not in the sense of the 19th century tonal tradition. The attached MP3 Audio Clip is a computer-generated soundfile. Duration of the set: about 10 1/2 minutes.
$14.99
13.81 €
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Chorale SATB
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Richard St
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Madrigals for Spring for SATB Chorus a Capella
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Richard St. Clair
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SheetMusicPlus
Fragment VI
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.998879 Composed by Robert A. Howard…
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Piano Solo - Level 3 - Digital Download SKU: A0.998879 Composed by Robert A. Howard. 21st Century,Classical,Contemporary,Contest,Festival,Instructional. Score. 4 pages. Robert A. Howard #6480941. Published by Robert A. Howard (A0.998879). The Fragment series of short piano pieces was conceived for pianists of almost any standard. As suggested in the title, each piece is based on a single compositional fragment or sketch that had otherwise remained incomplete and dormant. Fragment VI is the final piece in this six-movement piano cycle (though Fragments may be performed separately). The work's main middle section bears some similarity in tone and mood to the first piece in the cycle, Fragment I. Fragment VI is slightly more technically challenging than the previous movements. It has an arch form whereby the two, slow, initial introductory sections return in reverse order as the conclusion. The extended centrepiece section cumulatively builds in texture, dynamics, and tension, and is a set of modal variations over a 4-bar descending ground bass. The piece is highly accessible and is appropriate for almost all standards of pianist, including students and more advanced players. Other works from the Fragment cycle are also available via Sheet Music Plus.Duration: 4 minutes 10 seconds.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk
$3.49
3.22 €
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Piano seul
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Robert A
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Fragment VI
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Robert A. Howard
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SheetMusicPlus
7 Color Pieces, Opus 2
Piano seul
Piano solo - Digital Download SKU: BQ.979-0-50179-700-4 Composed by John Mitchell. …
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Piano solo - Digital Download SKU: BQ.979-0-50179-700-4 Composed by John Mitchell. This edition: softcover. Bisel New Classics. Score. With Text Language: English / German. Opus 2. 24 pages. Published by Bisel Classics - Digital (BQ.979-0-50179-700-4). ISBN 9790501797004.Six of these pieces grew out of many short piano pieces, mostly fragments, that I wrote while a student at UCLA and shortly after. The color titles were added later, but they seem to me to fit. No. 6 was added from another large group written long after in 1980. Indigo, Green, and Red were much revised years later and the other three slightly revised.
$15.95
14.69 €
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Piano seul
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John Mitchell
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7 Color Pieces, Opus 2
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Bisel Classics - Digital
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SheetMusicPlus
Transpositions I
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1019459 Composed by Simon Watkins. …
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Piano Solo - Level 3 - Digital Download SKU: A0.1019459 Composed by Simon Watkins. Contemporary. Score. 23 pages. Simon Watkins #6231249. Published by Simon Watkins (A0.1019459). Six new pieces for piano ranging from 1 to 5 minutes' duration playing with familiar forms and exploring different rhythms and textures, using melodic fragments drawn from transposition exercises penned by the author's piano teacher.
$7.50
6.91 €
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Piano seul
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Simon Watkins
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Transpositions I
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Simon Watkins
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SheetMusicPlus
Vigany's Cabinet
Chamber trio - Digital Download SKU: OX.9780193568624 Composed by Michael Finnissy.…
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Chamber trio - Digital Download SKU: OX.9780193568624 Composed by Michael Finnissy. Score. 64 pages. Oxford University Press Digital #9780193568624. Published by Oxford University Press Digital (OX.9780193568624). ISBN 9780193568624.For two to six groups of instruments en trio. The piece is itself a cabinet of curiosities: musical excerpts from Vigany's time plus material from Hook, Lawes, Mozart, anonymous dance-tunes from mittal-Europa, and folksongs from Italy. There is no fixed order although the performers are given illustrations to aid their imagination in a 21st century interpretation of these historical musical fragments.
$51.50
47.44 €
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Michael Finnissy
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Vigany's Cabinet
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Oxford University Press Digital
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SheetMusicPlus
Come To Me
Ensemble de Percussions
Percussion Ensemble - Level 4 - Digital Download SKU: A0.1350568 Composed by Bjork …
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Percussion Ensemble - Level 4 - Digital Download SKU: A0.1350568 Composed by Bjork Gudmundsdottir. Arranged by David R. Peoples. Classical,Contemporary,Pop,Rock. 87 pages. Bluesilhouettes Music #935388. Published by Bluesilhouettes Music (A0.1350568). If you had a day, and all you listened to was Björk, you’d have a fascinating day. The experience would be marked by a kaleidoscope of varying styles from pop, avant-garde, or jazz. Is it mainstream - probably not. But, the artist is definitely recognizable (as a name), appearing across multiple genres. As a source of background to her song ‘Come to Me,’ I borrowed a palindromic idea exploited by Radiohead in their ‘Pyramid song...’ if we truly expand a swing feel to a twelve-eight meter and extend the pattern across two measures - the eighth notes would provide a total of twenty-four possibilities - and as in this work you get four, five, six, five, four a palindrome on 45654 that (when added) equals twenty-four.This version is not a cover. Fragments of musical elements are translated into the ensemble. While occasionally exhibiting moments of dance, the composition evolves into a more profound expression, capitalizing on the musical possibilities of a percussion ensemble. This arrangement was crafted for the University of North Georgia’s percussion ensemble, directed by Dr. Steven Walker.Full mock-up digital audio: available here
$34.99
32.23 €
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Ensemble de Percussions
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Bjork Gudmundsdottir
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David R
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Come To Me
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Bluesilhouettes Music
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SheetMusicPlus
Veterum Fragmenta
Instrumental Solo - Level 3 - Digital Download SKU: A0.1132034 By Rove Monteux. By …
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Instrumental Solo - Level 3 - Digital Download SKU: A0.1132034 By Rove Monteux. By Rove Monteux. Arranged by Rove Monteux. Classical,Contemporary,Film/TV. Individual part. 7 pages. Rove Monteux #732273. Published by Rove Monteux (A0.1132034). Full piano sheet for Veterum Fragmenta, containing 12 pages, 3:09 minutes. Veterum Fragmenta is the eighth single from Rove Monteux, accompanying his six albums, in his solo career into Classical, Cinematic, Drama and Neoclassical music. Veterum Fragmenta means “Fragments of the Past†in Latin, thumbing the single on Mediterranean ancient symbology, as depicted in his artwork, following the tour of the ancient Mediterranean Sea route in the Mare Magnum album. Composition, interpretation, recording, production, names and imagery created by and ©℗ 2022 Rove Monteux. UPC: 5063161167789 Artist: Rove Monteux Release date: pre-sales 14 of October 2022, All stores 24 of October 2022 Label: Ditto, Lua Vermelha ©℗ 2022, Rove Monteux.
$5.00
4.61 €
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Rove Monteux
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Rove Monteux
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Veterum Fragmenta
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Rove Monteux
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SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.45 €
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Guitare
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Richard Strauss
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Rod Whittle
#
for solo classical guitar
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Chorus and Aria from Ariadne auf Naxos
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Maggie Creek Music
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.45 €
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Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.45 €
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Guitare
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.45 €
#
Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Tchaikovsky - Russian Song in F Major - Intermediate
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1033949 Composed by Peter Ilyich Tc…
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Piano Solo - Level 3 - Digital Download SKU: A0.1033949 Composed by Peter Ilyich Tchaikovsky. Arranged by Piacere Music Sheets. Instructional,Romantic Period,Standards. Score. 2 pages. Piacere Music Sheets #639266. Published by Piacere Music Sheets (A0.1033949). Opus/Catalog Number: Op.39 ; TH 141, No. 11 Key/Tone: F Major Movements/Sections: Allegro Year/Date of Composition: 1878 Difficulty: Grade 5/12 (Intermediate) Obs.: This piece is the eleventh of 24 pieces in Tchaikovsky's Album for the Young. But some later editions use different numbering, based on the composer's autograph score. It features an unusual A- A'- A''- A'''- B musical form: Section A (measures 1 to 6): a six-bar phrase made up of two 3-bar fragments Section A' (measures 7 to 12): very similar to phrase A, but with minor differences in both hands Section A'' (measures 13 to 18): again similar to phrase A, but this time with more elaborate accompaniment in both hands Section A''' (measures 19 to 24): quite similar to phrase A'', but again slightly different Section B (measures 25 to 30): A contrasting section which acts as a coda and ends with a perfect cadence.
$4.95
4.56 €
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Piano seul
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Peter Ilyich Tchaikovsky
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Piacere Music Sheets
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TH 141, No
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Tchaikovsky - Russian Song in F Major - Intermediate
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Piacere Music Sheets
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SheetMusicPlus
Transpositions II
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1019460 Composed by Simon Watkins. …
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Piano Solo - Level 3 - Digital Download SKU: A0.1019460 Composed by Simon Watkins. Contemporary. Score. 25 pages. Simon Watkins #6231261. Published by Simon Watkins (A0.1019460). Six new pieces for piano ranging from 1 to 5 minutes' duration playing with familiar forms and exploring different rhythms and textures, using melodic fragments drawn from transposition exercises penned by the author's piano teacher.
$7.99
7.36 €
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Piano seul
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Simon Watkins
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Transpositions II
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Simon Watkins
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SheetMusicPlus
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.533667 Composed by Carson Cooma…
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Full Orchestra - Level 5 - Digital Download SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667). Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and isdedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. Thepiece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.The work contains only two specific “programmatically inspired†images related toPittsburgh. They form the outer two sections of the work. The inner four sections areinspired more abstractly by various aspects of the city, its landscapes, and its people; theyfeature a series of solos and duets for many members of the orchestra – in the manner of a“concerto for orchestra.â€The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.Colors and sounds of the clangorous industrial age of America’s past are evoked. The basicmusical material (a six-note cell) for the entire work is presented in this aggressiveintroduction. Throughout the rest of the work, this basic material is developed in ways thatrange from lushly romantic to aggressively athletic.The following section is marked “slow, lush†and features a duet first between trumpet andtuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leadsto an extended viola solo.The next section is fast and energetic. It begins with an athletic duet for English horn andbass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is forviolin, as the orchestral texture disintegrates around it.The next section, marked “slow, mysticalâ€, begins with a duet between piano and bassclarinet. A passionate horn duo follows before a passage for solo bass leads directly into thenext section.This section is fragmentary and halting. An unpitched duo of bass drum and flexatonebegins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,an extended cello solo closes the section.The final part of the work is inspired by my first visit to Pittsburgh. When driving in fromPittsburgh airport (which is far outside the city), the city itself is “hidden†from the road byhills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,emerges from it on a suspension bridge over the Monongahela River. Late at night, this wasa truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glitteringlights. The ecstatic rush of the lighted city at night is portrayed in this section – amidstfragments from the opening, recalling the industrial past, now transformed into somethingnew.Instrumentation3 Flutes (3rd dbl. Picc.)2 OboesEnglish Horn3 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F/Bb3 Trumpets in Bb2 TrombonesBass TromboneTubaTimpaniPercussion (3 players)I: tubular bells, bass drumII: vibraphone (motor off)III: crotales, marimba, flexatone(Percussion II needs two rosined bows.Percussion III needs one rosined bow.)PianoViolin IViolin IIViolaCelloContrabass(principal/solo contrabass must have machine extension to low Db)This is the score only. The parts are available on rental from the publisher
$25.95
23.91 €
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Orchestre
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Carson Cooman
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Carson Cooman: Pittsburgh Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Ikarus - Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.751143 Composed by Benedikt Bry…
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Full Orchestra - Level 5 - Digital Download SKU: A0.751143 Composed by Benedikt Brydern. 20th Century,Contemporary. Score and parts. 25 pages. ConSordino Music Publishing #4633239. Published by ConSordino Music Publishing (A0.751143). Ikarus started life as a composition for 9 solo string instruments but soon grew into a fully orchestrated piece. On one hand it tells the classic story of Ikarus who, ignoring the warnings of his father, flew too close to the sun and died. On the other hand it pays homage to the inventiveness of the human spirit and embraces mankind’s ability, through the creation of complicated machines, to achieve more than our mortal bodies would allow.The music starts softly with Ikarus preparing for his take-off. Slowly the huge wings unfold and the piece lifts off with a majestic theme/motif. The nervous sixteen notes in the string section symbolize the constant flow of air and motion needed by Ikarus to fly.The joy of movement is mirrored by the cellos and bassoons, gliding in and out of the orchestra. Sounds of birds, clouds and impressions of earth from above are represented by various short melodic or rhythmic fragments throughout the first phase of his flight.Slowly the intensity and excitement builds until we are completely swept away and have lost all sense of reason or danger. Then, in the climax of the composition, Ikarus and his wings crash to the ground and the orchestra brakes down with him, loosing feather after feather until all has been destroyed. After this violent moment, the compositions quiets down gradually and reflects on the failure of Ikarus.Performed and recorded by Robert Ian Winstin and the Kiev Philharmonicon July 14, 2005Orchestral Material for Performance available as Rental Only.
$17.99
16.57 €
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Orchestre
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Benedikt Brydern
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Ikarus - Score Only
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ConSordino Music Publishing
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SheetMusicPlus
Drumissimo
Small Ensemble Percussion - Level 4 - Digital Download SKU: A0.799442 Composed by D…
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Small Ensemble Percussion - Level 4 - Digital Download SKU: A0.799442 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 19 pages. Drake Mabry #519751. Published by Drake Mabry (A0.799442). Commissioned by the Theatre Athenor, Drummissimo is a work for four percussionists in two movements. The instruments used are those found in the usual drumset but here divided among four players thus requiring an extremely high level of co-ordination. The first movement is loosely synchronized and functions as a prelude for the second completely synchronized movement. Each percussionist plays short fragments previewing the more developed rhythmic cells to be found later. The second movement begins very sparsely eventually filling up to become a complete drumset rhythmic pattern. The players then gradually change to playing quietly with fingers or thimbles after which they take snare sticks (unnoticed) leading to an explosive and complex rhythmic pattern. From here to the end the rhythmic cells become shorter and shorter until they are reduced to just three sixteenth notes. A brief silence is followed by an explosive final cadence. If necessary, the four players may be grouped near each other to help in coordinating the four parts but the ideal performance setup, and that used by the Ensemble Rhizone, placed the four players far apart on the stage. The duration is 12'.Drumissimo was premiered by the Ensemble Rhizome at the Theatre Athenor in Nantes, France on May 23, 2002.
$9.99
9.2 €
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Drake Mabry
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Drumissimo
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Drake Mabry
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SheetMusicPlus
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