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Strike Up the Band: Oboe
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Strike Up the Band: Oboe
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0001688_O1 Oboe. Composed by G…
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Concert Band - Digital Download SKU: AX.00-PC-0001688_O1 Oboe. Composed by George Gershwin and Ira Gershwin. Arranged by Jack Bullock. Classical. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0001688_O1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001688_O1). UPC: 038081336428.Gershwin's' tune especially for band is from the1927 musical of the same name. Everyone's familiar with the traditional melody, stated first, but Jack Bullock has included the seldom heard verse which enhances the variety contained in this classic pop tune. Building to a rousing conclusion, this is one not to miss! This title is available in SmartMusic.
$3.00
2.79 €
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Orchestre d'harmonie
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George Gershwin and Ira Gershwin
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Jack Bullock
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Strike Up the Band: Oboe
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Strike Up the Band: Oboe
Hautbois (partie séparée)
Full Orchestra - Digital Download SKU: AX.00-PC-0014487_O1 Oboe. Composed by…
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Full Orchestra - Digital Download SKU: AX.00-PC-0014487_O1 Oboe. Composed by George Gershwin. Arranged by John Whitney. Classical. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0014487_O1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014487_O1). UPC: 038081394411.Patriotic, lively, and an American standard, the music from this 1940 hit movie will delight audiences and players! Perfect as an opener or even an encore for advanced school orchestra or community orchestra.Encore; Opener.
$3.00
2.79 €
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Hautbois (partie séparée)
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George Gershwin
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John Whitney
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Opener.
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Strike Up the Band: Oboe
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Australian Medley - Concert Band (Wind Symphony) with Rhythm Section- Traditional
Orchestre d'harmonie
Concert Band - Level 5 - Digital Download SKU: A0.733992 Composed by Traditional. A…
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Concert Band - Level 5 - Digital Download SKU: A0.733992 Composed by Traditional. Arranged by Daryl McKenzie. Jazz,World. Score and parts. 123 pages. Daryl McKenzie #4405870. Published by Daryl McKenzie (A0.733992). Concert Band (Wind Symphony) with Rhythm Section arrangement in a jazz/swing style of traditional Australian tunes - Waltzing Matilda, The Road to Gundagai and Click Go The Shears by Daryl McKenzie. Originally commissioned by the Royal Australian Air Force Central Band (the audio demo is from their CD Strike Up the Band and recorded by the Concert Band). Picc, 2 Fl, Ob, 3Cl, BCl, Bsn, 2 Alto Sax, 2 Tenor Sax, Bari Sax, 4 Horns in F, 4 Bb Trpts, 4 Trbs, Eupho, Tuba, Piano, Guitar, Bass (Rhythm Section), Drum Kit, 2 Perc.Note: Rhythm Section Bass and Drum Kit are essential. Oboe, Bsn, BCl, Eupho, Horns 3 & 4 are cross cued in other parts. Full audio demo: https://soundcloud.com/user-99505314/australian-opening-medley Big Band version available on SheetMusicPlus: Item # S0.538357 More arrangements by Daryl McKenzie: https://www.sheetmusicplus.com/publishers/daryl-mckenzie/6128
$79.99
74.31 €
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Orchestre d'harmonie
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Traditional
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Daryl McKenzie
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Australian Medley - Concert Band
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Daryl McKenzie
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SheetMusicPlus
Gershwin by George!: Oboe
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0016800_O1 Oboe. Composed by G…
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Concert Band - Digital Download SKU: AX.00-PC-0016800_O1 Oboe. Composed by George Gershwin. Arranged by Jerry Brubaker. Classic Pop; Masterwork Arrangement; Standard. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0016800_O1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016800_O1). UPC: 038081501055.The name George Gershwin is legendary in the world of American music and has spanned both popular and classical genres. This medley includes I Got Rhythm, Embraceable You, some symphonic works such as An American in Paris, Rhapsody in Blue, Summertime from the opera Porgy and Bess, and the seldom heard Piano Prelude No. 2. Hey leader, Strike Up the Band! (6:15).
$3.00
2.79 €
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Orchestre d'harmonie
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George Gershwin
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Jerry Brubaker
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Masterwork Arrangement
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Gershwin by George!: Oboe
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Two, by George: Oboe
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0016535_O1 Oboe. Composed by G…
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Concert Band - Digital Download SKU: AX.00-PC-0016535_O1 Oboe. Composed by George Gershwin and Ira Gershwin. Arranged by Jason Scott. Classical. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016535_O1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016535_O1). UPC: 038081479019.The Gershwin name is synonymous with the very best in the classical pop genre. Opening with I Got Rhythm and a quick, march-style setting of Strike Up the Band!, everything is straightforward in this arrangement for beginners, making it a snap to prepare. Upbeat and engaging! (1:45) This title is available in SmartMusic.
$3.00
2.79 €
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Orchestre d'harmonie
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George Gershwin and Ira Gershwin
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Jason Scott
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Two, by George: Oboe
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Gershwin by George!: Oboe
Hautbois (partie séparée)
Full Orchestra - Digital Download SKU: AX.00-PC-0016909_O1 Oboe. Composed by…
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Full Orchestra - Digital Download SKU: AX.00-PC-0016909_O1 Oboe. Composed by George Gershwin. Arranged by Jerry Brubaker. Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0016909_O1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016909_O1). UPC: 038081401284.Gershwin's legendary and well-known compositions span both popular and classical genres. Featured works in this beautiful medley include: Strike Up the Band!, I Got Rhythm, Embraceable You, An American in Paris, Prelude II, Summertime, and Rhapsody in Blue. (5:45).
$3.00
2.79 €
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Hautbois (partie séparée)
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George Gershwin
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Jerry Brubaker
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Gershwin by George!: Oboe
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Strike Up the Band: 2nd Oboe
Orchestre
Full Orchestra - Digital Download SKU: AX.00-PC-0014487_O2 2nd Oboe. Compose…
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Full Orchestra - Digital Download SKU: AX.00-PC-0014487_O2 2nd Oboe. Composed by George Gershwin. Arranged by John Whitney. Classical. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0014487_O2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014487_O2). UPC: 038081394411.Patriotic, lively, and an American standard, the music from this 1940 hit movie will delight audiences and players! Perfect as an opener or even an encore for advanced school orchestra or community orchestra.Encore; Opener.
$3.00
2.79 €
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Orchestre
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George Gershwin
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John Whitney
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Opener.
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Strike Up the Band: 2nd Oboe
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Oboe 1
Hautbois (partie séparée)
Oboe Solo - Level 5 - Digital Download SKU: A0.1018926 Composed by Benjamin Harry S…
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Oboe Solo - Level 5 - Digital Download SKU: A0.1018926 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072953. Published by Benjamin Sajo (A0.1018926). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.25 €
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Hautbois (partie séparée)
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Oboe 2
Hautbois (partie séparée)
Oboe Solo - Level 5 - Digital Download SKU: A0.1018925 Composed by Benjamin Harry S…
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Oboe Solo - Level 5 - Digital Download SKU: A0.1018925 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 4 pages. Benjamin Sajo #6072955. Published by Benjamin Sajo (A0.1018925). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
3.25 €
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Hautbois (partie séparée)
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Strike Up the Band: Oboe
Hautbois (partie séparée)
By George Gershwin (1898-1937) and Ira Gershwin. Arranged by Jerry Brubaker. For Concert B…
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By George Gershwin (1898-1937) and Ira Gershwin. Arranged by Jerry Brubaker. For Concert Band. Classical. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$3.00
2.79 €
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Hautbois (partie séparée)
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George Gershwin
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Jerry Brubaker
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Strike Up the Band: Oboe
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Strike Up the Band: 1st & 2nd Oboe
Orchestre d'harmonie
By George Gershwin (1898-1937) and Ira Gershwin. Arranged by Warren Barker. For Concert Ba…
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By George Gershwin (1898-1937) and Ira Gershwin. Arranged by Warren Barker. For Concert Band. Classical. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$3.00
2.79 €
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Orchestre d'harmonie
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George Gershwin
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Warren Barker
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Strike Up the Band: 1st & 2nd Oboe
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
HOUSETOP MARCH (Up on the Roof Top) - beginner band - easy - score, parts & license to copy
Orchestre d'harmonie
Concert Band - Level 1 - Digital Download SKU: A0.1431893 Composed by Brian Harris.…
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Concert Band - Level 1 - Digital Download SKU: A0.1431893 Composed by Brian Harris. Arranged by Brian Harris. Christmas,Holiday,Instructional,Pop,Traditional. 26 pages. HMS Music #1012368. Published by HMS Music (A0.1431893). _______________________A favorite of beginners and parents alike, HOUSETOP MARCH will bring a smile to everyone’s face . . . even Mr. Scrooge!A march-style setting of Up On The House Top (sometimes called Up On The Roof Top), this easy work contains a single one-measure solo for your best trumpeter and a one-note solo for the humble triangle player. And at the end, be certain to listen for the reindeer paws on the roof!DIFFICULTY LEVEL: Very Easy (slightly more difficult than JOY TO THE KING).PROGRAMMING: Winter Holiday/Christmas concert.FEATURES: melody distributed through all wind parts; key of B-flat major; simple parts using only quarter-, half-, and eighth notes.CHALLENGES: Introduction and ending use 1 measure of canon/imitation; one-measure trumpet solo; use of foot stomps at end (their favorite spot!); a one-strike triangle solo in last measure.RANGES: uses only notes of the B-flat Concert scale; clarinets remain below break.INSTRUMENTATION: includes Full Conductor Score (8 pages) and Parts (17 pages) for each instrument: Flute, Oboe, Bassoon, Clarinet, Bass Clarinet, Alto Sax, Tenor Sax, Baritone Sax, Trumpet, Horn in F (for beginners playing low notes), Horn in F (for beginners playing high notes), Trombone/Euphonium, T.C. Euphonium, Tuba, Percussion 1 (Snare & Bass Drum), Percussion 2 (Crash Cymbals, Triangle, Sleigh Bells), Bells/Mallets.MINIMUM INSTRUMENTATION REQUIREMENTS: Flute, Clarinet, Trumpet, and Bass Line (any low reed or low brass instrument), Percussion._ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ARRANGER/COMPOSER: Now retired, Brian Harris holds the Ph.D. in Music Education from the Florida State University and was a band director for over 30 years at public school and college programs._______________________________NOTE: this Digital Download document is assembled with the Clarinet part appearing as page 1 so you may view it on the web site as you listen to the sound file. When you print the full document (26 pages, total), the first page to print will be the Clarinet part, followed by 8 pages of the FULL SCORE, then the remaining PARTS (16 pages), and a SITE LICENSE permitting you to make multiple copies for use by your school/institution - year after year. (BcP-YB)___________________________Click here to view other Winter / Christmas Concert works from Bandroom.com Publications:Joy to the King (for beginners; super easy)Jingle Those Bells! (for beginners; super easy with flexible advanced parts)HouseTop March (easy; for advanced beginners or 2nd-year players)Ukrainian Bell Carol (for advanced beginners or 2nd-year players)Tidings of Joy (for advanced beginners or 2nd-year players)Journey of the Magi (for 2nd- or 3rd-year players)Also, please consider Latin Lullaby for your Spring Concert (for beginners)______________________.
$34.99
32.5 €
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Orchestre d'harmonie
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Brian Harris
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Brian Harris
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key of B-flat major
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HOUSETOP MARCH
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HMS Music
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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Strike Up the Band - Piano Accompaniment by George Gershwin - Instrumental Parts
Strike Up the Band - Piano Accompaniment Digital Sheetmusic - instantly downloadable sheet…
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Strike Up the Band - Piano Accompaniment Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement does not contain lyrics), scoring: Solo & Accompaniment;Instrumental Parts, instruments: C Instrument;Piano Accompaniment;Violin;Oboe;Flute;Recorder; 3 pages -- Show/Broadway~~Standards~~Traditional Pop~~Musical
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4.88 €
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Piano Accompaniment by George Gershwin
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