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Song without Words in D flat
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Vous avez sélectionné:
Song without Words in D flat
Partitions à imprimer
7 partitions trouvées
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Song without Words in D flat
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Piano seul
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AVANCÉ
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Contemporain
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Moshe S
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Song without Words in D flat
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ArtsAhimsa
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.950783 Composed by Moshe S. Knoll. Contemporary. Score. 6 pages. ArtsAhimsa #3100565. Published by ArtsAhimsa (A0.950783)...
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Piano Solo - Level 5 - SKU: A0.950783 Composed by Moshe S. Knoll. Contemporary. Score. 6 pages. ArtsAhimsa #3100565. Published by ArtsAhimsa (A0.950783). This is a deeply felt cantilena for piano solo, the emotional content is bittersweet, alternating between the contemplation of perfect love and the emembrance of past suffering.The style is a synthesis of Contemporary Pop and Nineteenth Century Romanticism, a path many composers have taken in our time.
$5.00
6 Songs Without Words, Op. 85
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Piano seul
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6 Songs Without Words, Op. 85
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SheetMusicPlus
Mendelssohn's lyrical piano pieces 'Lieder ohne Worte' [Songs without Words] are among the most popular of his compositions. Over 25 years Mendelssohn published...
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Mendelssohn's lyrical piano pieces 'Lieder ohne Worte' [Songs without Words] are among the most popular of his compositions. Over 25 years Mendelssohn published his song-like melodies in 8 volumes altogether, consisting of 6 pieces each. Accordingly, the groups of works are now published in separate editions in the Edition Schott series
Song List
: Andante espressivo in F major Allegro agitato in A minor Presto in E-flat major Andante sostenuto in D major Allegretto in A major Allegretto con moto in B-flat major
$5.99
Four Songs by Felix and Fanny Mendelssohn
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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Felix Mendelssohn
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Stephen Levintow
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Four Songs by Felix and Fanny
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Cypress Publishing
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1403057 Composed by Felix Mendelssohn (1809-1847), Fanny Mendelssohn Hensel (1805-1...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1403057 Composed by Felix Mendelssohn (1809-1847), Fanny Mendelssohn Hensel (1805-1847). Arranged by Stephen Levintow. 19th Century,Romantic Period. 29 pages. Cypress Publishing #986241. Published by Cypress Publishing (A0.1403057). The Lieder for voice and piano by Felix Mendelssohn, while of high quality, have mostly been overshadowed by those of his contemporary and friend Robert Schumann. But his Lieder ohne Worte (Songs Without Words) for piano solo with no vocal text, were and remain immensely popular, and had a great influence on his fellow composers, creating a genre of short poetic pieces for piano accessible to skilled amateurs and students as well as professionals.This set of four arrangements for string quartet begins with the best known and most loved of his vocal songs, Auf Flügeln des Gesanges (On Wings of Song), a setting of a poem by Heinrich Heine. Following are two Songs Without Words, a fine untitled one in G Major, and the famous Frühlingslied (Spring Song).In between them is a piece by his older sister, Fanny Mendelssohn Hensel, an accomplished composer with a catalog of over 450 works, some of which were originally published under Felix’s name. Like Felix, she wrote Lieder both with a sung text, and with no words, which she called Lieder für das Pianoforte. This little jewel is one of the latter, from her Opus 8. She gave it the title Lied (Lenau), a reference to the poet Nikolaus Lenau (1802-1850). But with neither sung text nor poem title indicated, it is a little mysterious. A gentle sinuous melody leads to some bold modulations before returning, not in the expected tonic key but on the dominant. Only in the last few bars does it resolve to the home key. The arrangement transposes the original D-Flat Major to D Major, which lies better for strings. CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites. The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.
$8.00
Echoes in Variation
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Piano seul
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INTERMÉDIAIRE
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Classique
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Tori Amos
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Todd J
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Echoes in Variation
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Todd J. Scallan
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1470460 By Tori Amos. By Charles-Valentin Alkan, Claude Debussy, Domenico Scarlatti, Enrique Granados, Erik Satie, Felix ...
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Piano Solo - Level 3 - SKU: A0.1470460 By Tori Amos. By Charles-Valentin Alkan, Claude Debussy, Domenico Scarlatti, Enrique Granados, Erik Satie, Felix Bartholdy Mendelssohn, Franz Schubert, Frederic Chopin, Johann Sebastian Bach, Modest Petrovich Mussorgsky, and Robert Schumann. Arranged by Todd J. Scallan. Baroque,Classical,Romantic Period. Score. 48 pages. Todd J. Scallan #1048169. Published by Todd J. Scallan (A0.1470460). Echoes in Variation brings together the classical inspirations for the musical themes in Night of Hunters – a song cycle by Tori Amos. The songs from Night of Hunters are mainly variations on the classical pieces presented here as arrangements for solo piano. Each arrangement is faithful to the original piano score, but with cleaner formatting and clearer performance directions.This collection offers an excellent introduction to a range of brilliant composers spanning the 18th through early 20th centuries:- Alkan: Song of the Madwoman on the Seashore, Preludes Op. 31, No. 8- Granados: Añoranza from 6 Pieces on Spanish Folk Songs- Satie: Gnossienne No. 1- Granados: Spanish Dance No. 2 from 12 Spanish Dances- Chopin: Nocturne Op. 9, No. 1- Schubert: Andantino from Piano Sonata in A major, D. 959- Mendelssohn: Venetian Boat Song, from Songs Without Words Book 2, Op. 30- Schumann: Theme in E-flat Major for Piano (Ghost Variations), WoO 24- J. S. Bach: Siciliana from Flute Sonata in E-flat major, BWV 1031- Mussorgsky: The Old Castle from Pictures at an Exhibition- Gregorian chant: Salve Regina- Scarlatti: Sonata in F minor, K. 466- J. S. Bach: Prelude in C minor, BWV 999- Debussy: The Girl with the Flaxen Hair, Preludes Book 1, No. 8As a complement to these pieces, solo piano arrangements for the songs from Tori Amos’ Night of Hunters are also available.
$24.99
Plaisir d'amour
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Ensemble de cuivres
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INTERMÉDIAIRE
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Jean-Paul-Égide Martini
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F
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Plaisir d'amour
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.808686 Composed by Jean-Paul-Égide Martini (1741–1816). Arranged by F. Leslie Smith. Classical,Holiday,Lov...
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Brass Ensemble - Level 3 - SKU: A0.808686 Composed by Jean-Paul-Égide Martini (1741–1816). Arranged by F. Leslie Smith. Classical,Holiday,Love,Wedding. Score and parts. 23 pages. Sweetwater Brass Press #3689775. Published by Sweetwater Brass Press (A0.808686). This is one of the most beautifully arranged short pieces in the Sweetwater Brass Press catalog. Jean-Paul-Égide Martini wrote Plaisir d'amour in 1784. He took the words from a poem that appears in Célestine, a short novel by Jean-Pierre Claris de Florian. The poem begins, Plaisir d'amour ne dure qu'un moment (The pleasure of love lasts only a moment). Over the years, Martini’s melody has proved popular with other composers, including Hector Berlioz and Louis van Waefelghem. Two relatively recent songs that made use of the plaintiff refrain are the Christian hymn, My God Loves Me and the song Can't Help Falling in Love, which was performed by Elvis Presley in the film, Blue Hawaii. This arrangement is not technically difficult, but it does require discipline and interpretation. As in the original, there are two key changes, F to A-flat and then back to F. The time signature has been changed from Martini’s 6/8 to ¾ but retains all relative note values. Trumpet 1 plays the melody with occasional harmony from Trumpet 2. Horn in F provides arpeggio accompaniment throughout most of the song, with some help from Tuba and Trombone. With respect to high and low notes: Trumpet 1 has one A5 grace note (to a G5 quarter note); Trumpet 2 has three above-staff quarter notes in a row, A5, B5 and A5; Trombone has one F4; and Tuba has a number of F1 notes and one section of octave jumps involving F2 to F3 and A2 to A3. This arrangement was completed in 2018, and performance time runs about 3 minutes, 51 seconds. The arranger, Les Smith, would be very interested in your comments; contact him at lessmith@ufl.edu or leave a review on the SheetMusicPlus website. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus search box.
$6.95
If Not Now, When?
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Contemporain
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Chris Gordon
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If Not Now, When?
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Cool Wind Music Digital
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pa...
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Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!
$25.00
Because
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Ensemble de cuivres
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INTERMÉDIAIRE
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Guy d'Hardelot
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F
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Because
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.808703 Composed by Guy d'Hardelot (1858 – 1936). Arranged by F. Leslie Smith. Holiday,Romantic Period,Spiritua...
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Brass Ensemble - Level 3 - SKU: A0.808703 Composed by Guy d'Hardelot (1858 – 1936). Arranged by F. Leslie Smith. Holiday,Romantic Period,Spiritual,Wedding. Score and parts. 18 pages. Sweetwater Brass Press #6072651. Published by Sweetwater Brass Press (A0.808703).     This song is a great piece to play for a general concert. But it really shines in matrimonial settings. The fact is: No wedding is complete without the performance of Because.    Helen Guy, the daughter of an English sea captain and a French singer, was born at Château d'Hardelot in France. She entered the Paris Conservatory at age 15, and in her early 20s composed a musical setting for Victor Hugo’s Sans toi, which gained some popularity. She composed over 300 songs using the name Guy d'Hardelot. She was also a noted piano accompanist. After marrying W.I. Rhodes, she settled in London and taught singing. As a composer, she is best remembered for Because (Parce Que), for which she wrote both the music and the French words. It was first published in 1902 with English lyrics by Edward Teschemacher and has since been recorded many times by many different artists.    This arrangement was derived from the 1902 Chappell & Co. score in C major for piano and voice. For the most part, however, the musical setting is original and different. Throughout most of the piece, Horn in F carries the melody with Trombone and Tuba providing an arpeggio accompaniment. Trumpets 1 and 2 play a syncopation figure for the opening and the end but during the majority of the arrangement they provide an antiphonal response to the melody. The opening is marked Poco Adagio with a suggested metronome setting of 76, but the tempo does vary rather frequently. All notes are well within the range of each instrument; e.g., B-flat Trumpets’ highest note is G at the top of their staff, while Tuba’s lowest note is A below the staff. All-in-all, this arrangement is a beautiful and poignant setting for an old favorite, a real crowd pleaser.    Completed in 2020, performance time for Because runs about 3 minutes, 22 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$6.99
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Song without Words in D flat
