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Vous avez sélectionné:
Such Subtleties
Partitions à imprimer
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Such Subtleties (film score)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1039855 Composed by David M. St…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1039855 Composed by David M. Sterrett. Film/TV. Score and parts. 158 pages. David Sterrett Music #644710. Published by David Sterrett Music (A0.1039855). The film “Such Subtleties†(written by Hannah Beets, directed by Lucas Kitchen, produced by Press On Ministries and Media Kitchen Films) is an independent film created in 2010 by members of Kilgore Bible Church (Kilgore, Texas). The film tells the story of two sisters coming of age and how the decisions they make impact their lives and the lives of those around them. I was honored to have been asked to write the score for this project. The version of the score presented here contains all of the music cues from the film arranged for a concert setting. The work is not necessarily intended to be performed in its entirety; movements may be selected or omitted by choice. If movements 2 or 31 are included in the performance, note that an Electric Guitar and Electric Bass Guitar are needed for movement 2, and a Vocalist is needed for movement 31.
$99.99
92.07 €
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Orchestre
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David M
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Such Subtleties
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David Sterrett Music
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SheetMusicPlus
Such Subtleties (film score) - Score Only
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1039856 Composed by David M. St…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1039856 Composed by David M. Sterrett. Film/TV. Score and parts. 57 pages. David Sterrett Music #644711. Published by David Sterrett Music (A0.1039856). The film “Such Subtleties†(written by Hannah Beets, directed by Lucas Kitchen, produced by Press On Ministries and Media Kitchen Films) is an independent film created in 2010 by members of Kilgore Bible Church (Kilgore, Texas). The film tells the story of two sisters coming of age and how the decisions they make impact their lives and the lives of those around them. I was honored to have been asked to write the score for this project. The version of the score presented here contains all of the music cues from the film arranged for a concert setting. The work is not necessarily intended to be performed in its entirety; movements may be selected or omitted by choice. If movements 2 or 31 are included in the performance, note that an Electric Guitar and Electric Bass Guitar are needed for movement 2, and a Vocalist is needed for movement 31.
$29.99
27.62 €
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Orchestre
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David M
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Such Subtleties
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David Sterrett Music
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SheetMusicPlus
9.28.85
Trombone
Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. …
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Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.
$7.99
7.36 €
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Trombone
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Drake Mabry
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9.28.85
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Drake Mabry
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged …
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.15 €
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Giovvanni Gabrieli
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James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199…
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
44.15 €
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabri…
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Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.15 €
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Orchestre d'harmonie
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136 for Concert Band
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jmsgu3
#
SheetMusicPlus
Fiddle Music of Prince Edward Island-Celtic and Acadian Tunes in Living Tradition
Fiddle - Beginning; Intermediate; Advanced - Digital Download SKU: M0.95393BCDEB
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Fiddle - Beginning; Intermediate; Advanced - Digital Download SKU: M0.95393BCDEB Celtic and Acadian Tunes in Living Tradition. Composed by Ken Perlman. Celtic / Irish, World. Canadian-Maritime. E-book and online audio. Mel Bay Publications - Digital Sheet Music #95393BCDEB. Published by Mel Bay Publications - Digital Sheet Music (M0.95393BCDEB). ISBN 9781610655224. 8.75x11.75 inches.The over 425 reels, jigs, set-tunes, waltzes, marches, strathspeys, and airs transcribed from the playing of traditional fiddlers in this collection, represent a large portion of the current Island repertoire. It is believed that over 100 of these tunes have never been in print previously. Even the titles that have appeared in print before, feature new and intriguing details. Because each tune is a transcription of a specific performance by an individual player, many subtleties of style--such as ornamentation, double stops, and slurs—are included. Also included are each player’s melodic idiosyncrasies—called twists in local parlance. You will find living, breathing versions of tunes filled with the vitality of a people whose great love for their music is expressed in every bow-stroke. Includes access to online audio.
$27.99
25.77 €
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Ken Perlman
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Intermediate
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Fiddle Music of Prince Edward Island-Celtic and Acadian Tunes in Living Tradition
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Nocturne No.1 in Bb major
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.862666 Composed by John Field. Arra…
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Piano Solo - Level 4 - Digital Download SKU: A0.862666 Composed by John Field. Arranged by Michael Bomier. Concert,Instructional,Romantic Period,Standards. Score. 5 pages. Michael Butkus-Bomier #3626721. Published by Michael Butkus-Bomier (A0.862666). NOCTURNE is a genre we associate with Chopin, of course, as well we should. Yet, this whole idea of music of the night did not originate with him, but with John Field. Clementi's sorely-tried apprentice and protege', and a confirmed alcoholic, moved from London and Clementi's captivity to spend his adulthood, short as it was, in Moscow, of all places. It was there he began to write his long series of romantic, ( small R? ) pieces, with simple vocalistic melodies, over an arpeggiated left-hand bass. This piece marks the beginning of the genre, and, as such, warrants the attention of everyone who admires Chopin's works. Our setting here uses chord symbols for every LH arpeggio, so that the player can get used to harmonic identification as the primary means of seeing and hearing the LH. All the ornamentation is written out, for stylistic clarity. As with so much classical music, a slow pace brings out lingering subtleties, while a faster one can create movement and excitement, if one has the technique! MBB .
$2.50
2.3 €
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Piano seul
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John Field
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Michael Bomier
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Nocturne No.1 in Bb major
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Michael Butkus-Bomier
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SheetMusicPlus
Autumn Turns
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1317642 By Rik Emmett. By Richard G…
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Piano Solo - Level 3 - Digital Download SKU: A0.1317642 By Rik Emmett. By Richard Gordon Emmett. Arranged by Kevin Cummings. New Age,Pop. Score. 3 pages. Kevin Cummings #906315. Published by Kevin Cummings (A0.1317642). A delightful instrumental piece for the autumn season, Rik Emmett's band composition is arranged here for the intermediate pianist. The subtleties of Rik's recording, such as the calm melody and the moving bass and inner voices, are present in this new version.
$4.99
4.59 €
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Piano seul
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Rik Emmett
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Kevin Cummings
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Autumn Turns
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Kevin Cummings
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SheetMusicPlus
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