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--INSTRUMENTS--
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The Black Cat Rag
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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CORNET
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Vous avez sélectionné:
The Black Cat Rag
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Partitions à imprimer
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Black Cat Rag (Grade 2, C2, from the ABRSM Violin Syllabus from 2024)
Violon
Violin Solo - Level 2 - Digital Download SKU: HX.1246311 Composed by Craig Utting. …
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Violin Solo - Level 2 - Digital Download SKU: HX.1246311 Composed by Craig Utting. This edition: scorch. Classical. 3 pages. ABRSM (Associated Board of the Royal Schools of Music) #VEPs_G2_C2. Published by ABRSM (Associated Board of the Royal Schools of Music) (HX.1246311).
$2.99
2.76 €
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Violon
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Craig Utting
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Black Cat Rag
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ABRSM
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SheetMusicPlus
God Bless (Save) Us All: an LGBTQ Anthem
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1042481 Composed by O…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1042481 Composed by Obscure and unknown (c.1744). Arranged by Scott S. Stewart. Classical,Patriotic,Traditional. Score. 2 pages. Scott S. Stewart #646487. Published by Scott S. Stewart (A0.1042481). “God Bless (Save) Us All†– An LGBTQ Anthem: José Julio Sarria (1922-2013), the 1st openly gay candidate for political office in the United States, and San Francisco drag queen performer ‘extraordinaire’ at the Black Cat Bar, or “The best gay bar in America†– Allen Ginsberg; would at the end of each of his (Sarria’s) performances ask the audience to make a circle and join hands and sing “God Save Us Nelly Queens†(to the tune of ‘God Save the Queen’). I served as Conductor of the local LGBT (at that time no ‘Q’) mixed chorus during the 20th anniversary of the Stonewall Riots. To celebrate Sarria’s intention of unification I made this arrangement, with a somewhat over-the-top piano accompaniment, of his anthem. I have updated the lyrics to include our many embraced diversities. (Adapt the words as needed for your organization, &/or political climate. – sss) Performance time: 1:05+.
$9.99
9.21 €
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Piano, Voix et Guitare
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Obscure and unknown
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Scott S
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God Bless
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Scott S. Stewart
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SheetMusicPlus
God Bless (Save) Us All: an LGBTQ Anthem
Chorale SATB
Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.1033587 Composed by Obscur…
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Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.1033587 Composed by Obscure and unknown, c.1744. Arranged by Scott S. Stewart. 20th Century,Patriotic,Spiritual,Traditional. Octavo. 2 pages. Scott S. Stewart #638897. Published by Scott S. Stewart (A0.1033587). “God Bless (Save) Us All†– An LGBTQ Anthem: José Julio Sarria (1922-2013), the 1st openly gay candidate for political office in the United States, and San Francisco drag queen performer ‘extraordinaire’ at the Black Cat Bar, or “The best gay bar in America†– Allen Ginsberg; would at the end of each of his (Sarria’s) performances ask the audience to make a circle and join hands and sing “God Save Us Nelly Queens†(to the tune of ‘God Save the Queen’). I served as Conductor of the local LGBT (at that time no ‘Q’) mixed chorus during the 20th anniversary of the Stonewall Riots. To celebrate Sarria’s intention of unification I arranged an SATB inclusive version (with piano accompaniment) of his anthem. I have updated the lyrics to include our many embraced diversities. (Adapt the words as needed for your organization, &/or political climate. – sss) Performance time: 1:05+.
$2.49
2.3 €
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Chorale SATB
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Obscure and unknown, c
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Scott S
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God Bless
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Scott S. Stewart
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SheetMusicPlus
Black Mountain Rag
Guitare notes et tablatures
Guitar - Level 4 - Digital Download SKU: A0.1077722 Composed by Trad. Arranged by C…
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Guitar - Level 4 - Digital Download SKU: A0.1077722 Composed by Trad. Arranged by Calum Wood. Country,Folk,Traditional. Guitar Tab. 3 pages. Calum Wood #681921. Published by Calum Wood (A0.1077722). Attention all bluegrass and country music fans! We are excited to offer our guitar score of the classic tune Black Mountain Rag - a beloved standard in the genre.Our Black Mountain Rag guitar score is written in both TAB and music notation, making it accessible to players of all levels. This tune is perfect for beginner to intermediate players looking to add some classic bluegrass to their repertoire.What sets our guitar score apart is the attention to detail and accuracy that we've applied to transcribing every note and chord. Our score captures the nuances and subtleties of the original recording, allowing you to play the song just as the greats like Doc Watson, Earl Scruggs, and Chet Atkins intended.Black Mountain Rag is a unique piece that blends elements of traditional fiddle tunes, blues, and country, making it a genre-defying hit that appeals to a wide range of music lovers. This tune is a true gem in the bluegrass catalog, and its lively tempo and intricate melody are sure to get your audience's toes tapping.The history of Black Mountain Rag dates back to the early 20th century, when it was a popular tune played by fiddlers in the Appalachian Mountains. Over the years, the tune was adapted for other instruments, including the guitar, and has become a staple of bluegrass and country music.Our guitar score of Black Mountain Rag is the perfect way to pay tribute to this classic tune and showcase your guitar skills. From the lightning-fast runs to the intricate fingerpicking patterns, our score captures the essence of this iconic song and allows you to recreate it in your own unique style.Don't miss out on this opportunity to add Black Mountain Rag to your repertoire and elevate your guitar playing to new heights. Order your guitar score today and take your first step toward becoming a bluegrass legend!
$1.99
1.83 €
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Guitare notes et tablatures
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Trad
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Calum Wood
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Black Mountain Rag
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Calum Wood
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SheetMusicPlus
Master, the Tempest is Raging (SATB)
Chorale SATB
Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.723296 Composed by Mary An…
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Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.723296 Composed by Mary Ann Baker, H.R. Palmer. Arranged by Garrett Breeze. Easter,Praise & Worship,Sacred,Spiritual. Octavo. 7 pages. Lagom Music #6093717. Published by Lagom Music (A0.723296). This arrangement by Garrett Breeze is easy to learn and fun to sing! The men and women sing the first and second verses respectively in unison, then come together on the third verse in familiar harmony. The piano part is full of movement, evoking the motion of the ocean as it ebbs and flows. An excited and accessible arrangement suitable for many different kinds of church services.Visit https://garrettbreeze.com to read my blog and discover new music!Check out my catalog of choral music at https://holidaychoirmusic.com!Subscribe to my YouTube channel at https://bit.ly/35HZC2d!Lyrics:Master the tempest is raging! The billows are tossing high! The sky is o'ershadowed with blackness. No shelter or help is nigh. Carest thou not that we perish? How canst thou lie asleep when each moment so madly is threat'ning a grave in the angry deep?Master with anguish of spirit I bow in my gried today. The depths of my sad heart are troubled. Oh, waken and save, I pray! Torrents of sin and of anguish sweep o'er my sinking soul, and I perish! I perish! dear Master. Oh hasten and take control!Master, the terror is over, the elements sweetly rest. Earth's sun in the calm lake is mirrored, and heaven's within my breast. Linger, o blessed Redeemer! Leave me alone no more, and with joy I shall make the blest harbor and rest on the blissful shore.The winds and the waves shall obey thy will: Peace, be still. Whether the wrath of the stormtossed sea or demons or men or whatever it be, no waters can swallow the ship where lies the Master of ocean and earth and skies. They all shall sweetly obey Thy will: Peace, be still. Peace, be still. They all shall sweetly obey Thy will: Peace, peace, be still.
$2.25
2.07 €
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Chorale SATB
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Mary Ann Baker, H
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Garrett Breeze
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Master, the Tempest is Raging
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Lagom Music
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SheetMusicPlus
Five Miniatures for the Aspiring Brass Quintet, Op. 134
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet - Level 2 - Digital Download SKU: A0.1489486 Composed by Dr. Daniel N…
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Brass Quintet - Level 2 - Digital Download SKU: A0.1489486 Composed by Dr. Daniel N. Thrower. Chamber,Classical,Contest,Festival,Instructional. 45 pages. Https://gildedmusicpress.com/ #1066349. Published by https://gildedmusicpress.com/ (A0.1489486). This collection of short compositions for brass quintet was conceived specifically to supplement a dearth of appropriate and artistic original compositions for the young aspiring brass quintet. These pieces are most fitting for a good high school quintet or a beginning college ensemble that wants a conquerable challenge. With a variety of keys, styles, and tempos, they lend themselves well for deep work on the core ensemble skills of rhythmic accuracy, intonation, and dynamic balance. These brief works are also quite enjoyable for the professional quintet to perform for ever-popular school shows, or simply to read as a warmup with the focus of improving ensemble skills. Performance time for all five pieces is approximately five minutes.“Blackhawk” (duration 0:45) was originally composed in D-sharp minor as a melody to be used in Comprehensive Trumpet Skills, Book 9: Sightreading and Transposition (p. 39). The quintet version is in concert D minor for more manageable execution. This brisk four-four work is perhaps the most difficult in the collection, with demands of multiple tonguing for all the instruments as well as fairly advanced intervallic jumps. “Lamb of God” (duration 1:00) is one of many hymn tunes originally composed by Dr. Thrower for use in Comprehensive Trumpet Skills, Book 7: Ensemble Skills (p. 54), intended to be used to tune unisons and octaves. As a tuning study it was published in the key of F major for B-flat trumpet, or concert E-flat major. The quintet version retained the original key of concert E-flat. The reverently subdued four-four tempo makes this the easiest piece in the collection, technically, though the three core ensemble skills listed in the introductory paragraph (rhythm, intonation, and balance) must still be extensively addressed. The horn part is perhaps the most demanding in “Lamb of God,” with arpeggiated discant lines toward the end.“Summer Solstice” (duration 1:10) was started on June 21, 2023, which was the summer solstice. It is a bright, cheerful piece in concert F major with a lot of interest in all the parts. One source of the title’s inspiration came from my family’s new situation living in Tokyo, Japan, where the dawn sky brightens around 4:00 AM on the longest days of the year, which obviously coincide with the summer solstice. The 70-second piece was completed four days after conception while the long days started at their earliest.“Triumph: Children’s March” (duration 1:00) was the catalyst for this collection. It started as a cute little brass quintet piece in the key of concert B-flat major, to be performed for children, such as for school concerts. The cut-time tempo is very brisk for a march, but animated little legs (or a more manageable audience activity of clapping hands) can easily handle the task. Although the first trumpet part ends up on a high C, there is an alternate note for a more comfortable ending.“Waltzing Puma” (duration 0:30) is an evocative title for an evocative piece. Like “Blackhawk,” this melody was composed as a melody for Comprehensive Trumpet Skills, Book 9: Sightreading and Transposition (p. 36). The melodies in that series took on titles of military aircraft, and this one was the helicopter “Puma.” Since this tune is in a fast three-four, it became the “Waltzing Puma.” The quintet version retains the original key of concert F minor.
$24.95
23 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Dr
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Five Miniatures for the Aspiring Brass Quintet, Op. 134
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https://gildedmusicpress.com/
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SheetMusicPlus
Sonata Hymnica No. 6
2 Pianos, 4 mains
2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.972673 Composed by…
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2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak of standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms, the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well as percussive polyrhythms.
$10.00
9.22 €
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2 Pianos, 4 mains
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James Siddons
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Sonata Hymnica No. 6
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James Siddons Music and Writings
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SheetMusicPlus
Surface Abrasion (in black & white) for piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1000666 Composed by Nicholas Yandel…
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Piano Solo - Level 5 - Digital Download SKU: A0.1000666 Composed by Nicholas Yandell. 20th Century,Contemporary. Score. 12 pages. Nicholas Yandell Music #6324367. Published by Nicholas Yandell Music (A0.1000666). This piece explores the whole range of the piano, as well as the instrument's more percussive side in a work that's rhythmically rich, with accessible melodic material and harmonic contrasts. This is a high-concept, expressive show piece, which is perfect as a recital piece for a college student or professional and an average performance of this piece lasts just over 6 minutes. First performed (studio recording) in Scotland by Edward Cohen in August of 2020, this work explores the concept of Extant Art. The definition of Extant is: still in existence, surviving, what’s not destroyed or lost; focusing on what remains after the surface of a person, object, or idea is stripped away. Musically, this concept is expressed through breaking down melodies and harmonies to their simplest elements, exploring spacious and percussive textures, clusters and jarring contrasts, moments of shrill dissonance, and using fragmented and jagged rhythms to form the parts of a shattered whole. Ultimately, this work is about breaking down the outside emotional skin and then penetrating the depths of an individual, until left with just their extant core. It’s a thrashing musical journey of catharsis.Performing Rights Organization: ASCAPComposer's website: https://www.nicholasyandell.com
$8.99
8.29 €
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Piano seul
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Nicholas Yandell
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Surface Abrasion
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Nicholas Yandell Music
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SheetMusicPlus
The Chinese Zodiac
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.744637 Composed by Elena Fortin. 20…
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Piano Solo - Level 4 - Digital Download SKU: A0.744637 Composed by Elena Fortin. 20th Century,Contemporary,Jazz,Standards,World. Score. 17 pages. Elena Fortin #6682917. Published by Elena Fortin (A0.744637). The Chinese ZodiacA collection of 12 miniature piano solos celebrating the animals in the Chinese zodiac. This collection will challenge the intermediate and advanced pianist and explores different styles and techniques that characterize each animal.The 12 animals are presented in the order of the Zodiac: Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog, and Pig. The songs can be performed as one suite, or as individual pieces in whatever order you please! The pieces explore different tempos, different keys, rapid fingering passages, expressive pieces, grace notes, articulation (staccato, accents, slurs, tenuto, legato), ornaments, challenging rhythm, doubled note passages, glissandos, dexterity on black keys, ragtime, boogie woogie, tremelos, swing rhythm, hand crossovers, and jazzy chords as well as more traditional harmonies. To see my catalogue of original pieces and arrangements, please visit my website here: www.the-piano-studio.com. For information about our online music school, please visit: www.coast2coastonlinemusicschool.com.
$6.99
6.44 €
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Piano seul
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Elena Fortin
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The Chinese Zodiac
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Elena Fortin
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SheetMusicPlus
Jesus Loves the Little Children
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.976736 Composed by Robert …
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.976736 Composed by Robert Myers. Children,Christian,Gospel,Sacred. Octavo. 12 pages. WheatMyer Music #6561371. Published by WheatMyer Music (A0.976736). Jesus Loves the Little Children is a fresh interpretation of the beloved children's song set as a choral anthem. New text, based on several gospel stories of Christ’s interaction with children, complements and extends C.H. Woolston's poetry to charge the church with caring for these little ones. Amid heightened emphases on our differences in recent days, Woolston's text came to mind as a pithy and poignant means to remind ourselves to look at each other through Christ’s eyes. And, if we do so, we will regard, not one another’s immutable external characteristics but, the imago Dei (image of God) common in us all. This music is meant to bring us toward this perspective through contemplation on how precious all the little ones, red and yellow, black and white, are in His eyes.This anthem features a pleasing and singable melody for average voices that will encourage, move and challenge listeners. The music could be used to complement scripture readings of Jesus' teaching on children or to support dedicatory and child recognition services. If you have the facilities, an accompanying montage of photos of children would focus and enhance the music's message.
$2.25
2.07 €
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Chorale SATB
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Robert Myers
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Jesus Loves the Little Children
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WheatMyer 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)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)
$23.99
22.12 €
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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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SheetMusicPlus
The William Bay Collection - Flatpicking Guitar Solo Anthology #1
Guitare
Guitar - Intermediate - Digital Download SKU: M0.WBM76MEB Country. Ebook and online…
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Guitar - Intermediate - Digital Download SKU: M0.WBM76MEB Country. Ebook and online audio. 193 pages. Mel Bay Publications - Digital Sheet Music #WBM76MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.WBM76MEB). ISBN 9781513476452. 8.75x11.75 inches.This comprehensive book contains the solos found in five William Bay guitar solo collections.á The solos range from colorful foot tapping reels, breakdowns, hornpipes, jigs, fiddle tunes and sea chanteys to country and Celtic ballads and waltzes.á Also included are numerous original guitar solos.á All 143 solos in this collection are recorded by the author and online access to the recordings is included. All solos are presented in notation and tablature.
Song List: 5th Avenue Swing Ain't Gonna Work Tomorrow American Hornpipe An Comhra Donn Angels Rock Me To Sleep Bacon In The Skillet Balkan Sunset Barney's Goat Bennett's Favorite Reel Bill Cheathum Billy in the Lowground Black And White Rag Blackberry Blossom Blanchard's Hornpipe Bluesin' the Frets Bottom of Punch Bowl Hornpipe Brian Boru's March Brighton Beach Bring Back to Me My Wandering Boy Brunswick Dance Brush Creek Bumpin' Buster's Reel Buttermilk Jig Caleb's Gorge Cape Cod Reel Carolan's Draught Carrie's Dream Catawissa Reel Catskill Night Cold, Frosty Morning Coldwater Creek Collin's Quest Copthorne Blues Crazy Creek Cumberland Gap Cumberland Ridge D Lite Days Of 'Lang Syne Devil's Dream Dixie Breakdown Don't Go Out Tonight, My Darling/East Virginia Down In The Willow Garden Dublin Dance East Tennessee Blues Echo Canyon Echo Waltz Eighth Of January Eleven Mile Canyon Em Study Fair And Tender Ladies Far From Home Gladiator Reel Green Fields Of America Guster Halloween Harvest Moon Strathspey Haste to the Wedding Haul Away, Joe Heebie Jeebie Hens In The Kitchen High Barbaree High five Hills of Roane County Hooker's Hornpipe I Never Will Marry I'll Be All Smiles Tonight Indian Creek Isle Of Cumbrae Ivy Leaf Reel Jacks Fork Rendezvous Jackson's Jig Katy Trail Kitchen Girl Lady's Fancy Lark in the Morning League Reel Little House 'Round the Corner London Hornpipe Lonesome River Lost Indian Luckie Bawdin's Reel Maddie's Bonnet Martha's Cider Mere Point Midnight Flight Mississippi Basin Missouri Mud Molambe Morrison's Jig National Lancer's Hornpipe Neapolitan Threshers Night Voyage North Sea Obadiah Johnson Peeler Creek Waltz Powder Mill Raqad Red Fox Waltz Red Haired Boy Reel De Lapin Rickett's Hornpipe Roll On Buddy Sally In The Garden Shannon's Well Ships Are Sailing Reel Short Life Of Trouble Shuckin' The Corn Sidney Street Silver Bell Silverheel's Shuffle Song Soppin' The Gravy Soulard St Anne's Reel St Clair's Hornpipe Star Of Bethlehem Step Around Johnny Stepping Out Stone's Rag Storms Are On The Ocean Suffolk Stroll Sugar In The Gourd Sundance Swallowtail Jig Sweet Lillie Sweet Sunny South Swing LTD Swing Steppin' The Burning Of The Piper's Hut The Clergy's Lamentation The Cuckoo The Downfall Of Paris The Girl I Loved in Sunny Tennessee The Promenade The Rights Of Man The Teetotaller's Reel The Unfortunate Rake The Wild Mare Whiskey Before Breakfast Wilson's Hornpipe Witch Of The Wave Reel Young McGoldrick
Song List
: 5th Avenue Swing Ain't Gonna Work Tomorrow American Hornpipe An Comhra Donn Angels Rock Me To Sleep Bacon In The Skillet Balkan Sunset Barney's Goat Bennett's Favorite Reel Bill Cheathum Billy in the Lowground Black And White Rag Blackberry Blossom Blanchard's Hornpipe Bluesin' the Frets Bottom of Punch Bowl Hornpipe Brian Boru's March Brighton Beach Bring Back to Me My Wandering Boy Brunswick Dance Brush Creek Bumpin' Buster's Reel Buttermilk Jig Caleb's Gorge Cape Cod Reel Carolan's Draught Carrie's Dream Catawissa Reel Catskill Night Cold, Frosty Morning Coldwater Creek Collin's Quest Copthorne Blues Crazy Creek Cumberland Gap Cumberland Ridge D Lite Days Of 'Lang Syne Devil's Dream Dixie Breakdown Don't Go Out Tonight, My Darling/East Virginia Down In The Willow Garden Dublin Dance East Tennessee Blues Echo Canyon Echo Waltz Eighth Of January Eleven Mile Canyon Em Study Fair And Tender Ladies Far From Home Gladiator Reel Green Fields Of America Guster Halloween Harvest Moon Strathspey Haste to the Wedding Haul Away, Joe Heebie Jeebie Hens In The Kitchen High Barbaree High five Hills of Roane County Hooker's Hornpipe I Never Will Marry I'll Be All Smiles Tonight Indian Creek Isle Of Cumbrae Ivy Leaf Reel Jacks Fork Rendezvous Jackson's Jig Katy Trail Kitchen Girl Lady's Fancy Lark in the Morning League Reel Little House 'Round the Corner London Hornpipe Lonesome River Lost Indian Luckie Bawdin's Reel Maddie's Bonnet Martha's Cider Mere Point Midnight Flight Mississippi Basin Missouri Mud Molambe Morrison's Jig National Lancer's Hornpipe Neapolitan Threshers Night Voyage North Sea Obadiah Johnson Peeler Creek Waltz Powder Mill Raqad Red Fox Waltz Red Haired Boy Reel De Lapin Rickett's Hornpipe Roll On Buddy Sally In The Garden Shannon's Well Ships Are Sailing Reel Short Life Of Trouble Shuckin' The Corn Sidney Street Silver Bell Silverheel's Shuffle Song Soppin' The Gravy Soulard St Anne's Reel St Clair's Hornpipe Star Of Bethlehem Step Around Johnny Stepping Out Stone's Rag Storms Are On The Ocean Suffolk Stroll Sugar In The Gourd Sundance Swallowtail Jig Sweet Lillie Sweet Sunny South Swing LTD Swing Steppin' The Burning Of The Piper's Hut The Clergy's Lamentation The Cuckoo The Downfall Of Paris The Girl I Loved in Sunny Tennessee The Promenade The Rights Of Man The Teetotaller's Reel The Unfortunate Rake The Wild Mare Whiskey Before Breakfast Wilson's Hornpipe Witch Of The Wave Reel Young McGoldrick
$24.99
23.04 €
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Guitare
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The William Bay Collection - Flatpicking Guitar Solo Anthology #1
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Black Cat Rag
Piano seul
Composed by Frank Wooster & Ethyl B Smith. March & Two-Step. From the Sam DeVincent Collec…
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Composed by Frank Wooster & Ethyl B Smith. March & Two-Step. From the Sam DeVincent Collection of Illustrated American Sheet Music, Series 3.6: African American Music - Ragtime Composers and Publishers, Box 109, Folder A, Archives Center, National Museum - - Rags, Women Composers - Smithsonian Institution
$5.99
5.52 €
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Piano seul
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Frank Wooster & Ethyl B Smith
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Black Cat Rag
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SheetMusicPlus
Johnson Brown and Mr. Black
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Ensemble,Brass Quintet - Level 2 - Digital Download SKU: A0.774939 Composed b…
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Brass Ensemble,Brass Quintet - Level 2 - Digital Download SKU: A0.774939 Composed by Herman Hummel. Arranged by Bill Wilson. Ragtime. Score and parts. 11 pages. Alexander Wilson #2347179. Published by Alexander Wilson (A0.774939). Herman A. Hummel wrote this fashionable rag in 1920. Your trombone player will particularly enjoy the Dixieland-style trombone licks throughout the piece. A Toot Suite Brass Quintet Arrangement for Bb trumpets, horn, trombone, and tuba. Performance time is approximately 1:30. Visit our website, www.tootsuitebrasspublishing.com, for a catalog of our arrangements available through sheetmusicplus.com.
$4.00
3.69 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Herman Hummel
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Bill Wilson
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Visit our website, www
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Johnson Brown and Mr. Black
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Alexander Wilson
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SheetMusicPlus
Hommages and Prelude No. 1
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1383996 Composed by David Fraser. 2…
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Piano Solo - Level 5 - Digital Download SKU: A0.1383996 Composed by David Fraser. 20th Century,21st Century,Classical,Romantic Period. Score. 178 pages. David Fraser #968350. Published by David Fraser (A0.1383996). This volume contains five solo piano pieces expertly crafted and meticulously edited for accuracy. Advanced pianists will welcome the technical challenges and heights of musicality these works require. Music terminology for â??Le Cygne noirâ?? and â??L'océanâ?? are in French, with regard to the dedications of these pieces. All other works use conventional music terminology in Italian. 178 pages. ISMN 979-0-800277-00-9.David Fraser wrote the first 41 measures of â??Rhapsody No. 1â?? in 1997 and subsequently completed this piece and all other works in this volume over the course of six months in 2019. When playing the original 41 measures of â??Rhapsody No. 1â?? in 2019, Fraser noted that the music had some resemblance to works by Sergei Rachmaninoff. This encouraged Fraser to compose the remainder of this piece in a manner reminiscent of Rachmaninoff and, consequently, author a suite of solo piano pieces as homages to some of his favorite composers. In Rachmaninoffâ??s famous â??Rhapsody on a Theme of Paganini, Op. 43â??, variation 18, the composer uses an upside-down inversion of a small melody by Paganini. Similarly, Fraser uses a backwards inversion of a small melody from Rachmaninoffâ??s variation for the Rhapsodyâ??s â??Adagioâ? section, which starts on Page 3.Le Cynge noir {The Black Swan} is the second piece Fraser authored, dedicated to his beloved piano composer, Maurice Ravel. In this piece, Fraser wrote in his own style while evoking images such as a swan gliding on a lake, peering at its reflection in the water, and taking flight into the clouds with its wings rustling in the wind. Fraser gleaned inspiration for this piece from Ravelâ??s song for voice and piano â??Histoires naturelles - Le cygneâ??, set to a poem by Jules Renard. In addition, Fraser alternates between the keys of C-sharp major and A major as a depiction of the magical swanâ??s internal conflict in choosing to exist as a black or white swan.Fraserâ??s third composition is â??Sonata No.1 Gothicâ??, dedicated to Sergei Prokofiev, not as a representation of this genre of music, but in form. Specifically, Fraser uses a similar structure in Movement 1, starting at Measure 72 marked â??più mosso e con abbandonoâ?, to the notoriously difficult â??colossaleâ? section of Prokofievâ??s â??Piano Concerto No. 2, Op. 16â??, Movement 1. The sonataâ??s Movement 3 also follows a structure parallel to Movement 4 of Prokofievâ??s aforementioned piano concerto, employing fiendishly challenging syncopated jumps in both hands. Written in ternary form, Movements 1 and 3 of Fraserâ??s sonata are in C minor; Movement 2 is in E-flat minor, instead of the expected relative or dominant key. This work has explosive sentiments of rage that elicit a sense of immensity and darkness, touching on the macabre yet maintaining an alluring nature. The fourth piece of this suite, â??L'océan {The Ocean}â?? dedicated to Claude Debussy, uses whole-tone scales throughout as lyrical motifs. The composition unfolds with the allusion of the sun glimmering on ocean waves, followed by the playfulness of eddies and gusts of wind. These themes merge into one another as the wind increases in ferocity, culminating in the start of a storm with sudden strikes of lightning preceded by the reverberation of thunder. The pitter-patter of rain on the water steadily evolves into a full tempest that engulfs the middle section of the piece. As the storm subsides and the ocean calms, night has fallen and the twinkling of stars in the firmament are reflecting upon the water. The piece ends with the return of the opening theme as the sun swiftly rises above the ocean on the horizon.Prelude No. 1 L'adieu {The Farewell} offers rich and lush harmonies with an enticing melody. This piece was written in memoriam to Fraser's mother.
$29.99
27.65 €
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Piano seul
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David Fraser
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Hommages and Prelude No. 1
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David Fraser
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SheetMusicPlus
Tangled in the Lines
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1266946 Composed by K…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1266946 Composed by Kimberly Joy Minarich. 21st Century,Christian. Score. 5 pages. Kimberly Joy Minarich #859591. Published by Kimberly Joy Minarich (A0.1266946). I have the privilege of directing high school, junior high, and elementary choir, as well as junior high handbells in a fantastic Christian school. As in many private schools, we adhere to a high expectation of both faculty and students, as we all work together to serve Christ in all that we do. It has become a home away from home for me, and I will forever be grateful for this institution that God has placed in my life, as a teacher today, as well as throughout my childhood, as I was a student here from preschool to high school graduation. When I was a student, and especially today from a teacher's perspective, I've witnessed that students seem to get frustrated with the rules when it comes to the dress code. The students are required to order uniforms from the Land's End catalogue, with polos and dress shirts in colors of green, yellow, or blue, along with the appropriate pants or skirts of white, black, or blue khaki. Modesty and professionalism is the standard as we seek to glorify God, even in the dress we choose. It's easy to get frustrated with rules anywhere you go. However, the goal of having rules is to put in place a line that we can all meet at according to the type of experience we are engaging in, or institution we are part of. This song encourages our students, or anyone frustrated with rules in any institution, to look past the rules themselves and focus on why you are here, and the overall purpose of what you are doing with others that are trying to do the same.Hopefully, this song will encourage you in your journey!
$7.99
7.37 €
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Piano, Voix et Guitare
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Kimberly Joy Minarich
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Tangled in the Lines
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Kimberly Joy Minarich
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SheetMusicPlus
"At The Edge Of A Spiral" - for Piano Four-Hands [Performance Score]
1 Piano, 4 mains
Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.976038
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Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.976038 Composed by Lior Navok. 20th Century,Contemporary. Score and parts. 27 pages. Lior Navok Music #4725307. Published by Lior Navok Music (A0.976038). AT THE EDGE OF A SPIRAL - for Piano Four-Hands (2004) DURATION: 10 Minutes PROGRAM NOTES: The composer writes about his work: At the Edge of a Spiral for one piano, four hands is a short journey of a built intensity. It is based on few fragments, motives that are lit in different light each time. The piece starts slow, but increases its intensity and speed as it progresses, utilizing the same motives. While composing the piece, I heard about a young man that threw himself to the river. I tried to imagine that went in his mind and what brought to this dead-end. And again the idea of a built intensity, obsessive and uncompromising came to my mind. At the very end of the piece, there is a sudden drop of intensity followed by a music box passage, as if describing what is going on in the person's mind right after the jump, right after reaching the edge of his life's spiral. At the Edge of a Spiral was written and dedicated for the Silver-Garburg Piano Duo - Sivan Silver and Gil Garburg. It was funded by the generous support of Miriam and Eliezer Benbassat. INFO: Item: Performance Score Edition: 2nd Edition Copyright: Lior Navok Publisher: Lior Navok Music Pages: 27 Binding: Ink: Black & White Paper Size: Folio / Legal.
$18.00
16.59 €
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1 Piano, 4 mains
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Lior Navok
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"At The Edge Of A Spiral" - for Piano Four-Hands [Performance Score]
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Lior Navok Music
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SheetMusicPlus
The Braes of Kintallen (Piano)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.868011 Composed by John MacColl (Tr…
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Piano Solo - Level 4 - Digital Download SKU: A0.868011 Composed by John MacColl (Trad.). Arranged by Ric Flauding. 20th Century,Celtic,World. Score. 5 pages. Denise Lea Flauding #6015937. Published by Denise Lea Flauding (A0.868011). Inspired by a melody composed by world champion bagpiper John MacColl, this song celebrates the beauty and romance of Scotland's western highlands. Harmonized & Arranged by Ric Flauding. Ric also composed some additional sections. Style: Celtic. Duration: 3:30. Ric's good friend Connee Robertson Black, who this is dedicated to along with her husband Jim is the Great Niece of John MacColl. Also available for String Orchestra as recorded by the Prague Symphony Strings.flaudingmusic.com
$5.00
4.61 €
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Piano seul
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John MacColl
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Ric Flauding
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Arranged by Ric Flauding
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The Braes of Kintallen
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Denise Lea Flauding
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SheetMusicPlus
Die Reise nach Batumi
Piano seul
Piano - Digital Download SKU: RX.9783737803298 Sheet music for piano. Compos…
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Piano - Digital Download SKU: RX.9783737803298 Sheet music for piano. Composed by Mulo Francel, Quandro Nuevo. Text language: English. World music. 4 pages. Published by Roba Music Verlag (RX.9783737803298). This song is a travelling song written under the impression of several tours through South and East Europe, the Balkans and around the Black Sea. Dedicated to Jason, the hero of the Greek mythology, it has to be played in a hymnic manner. Jason went on a most adventurous journey to the very outermost coast of the Black Sea with this motley entourage - the Argonauts - in order to seize the Golden Fleece, a gigantic golden ram skin. Just about where the Georgian city of Batumi is today. If you would like to know more about it, you may want to read the chapter “Die Reise nach Batumi†(The Journey to Batumi) in our roadbook “Quadro Nuevo: Grand Voyage. To every person who is interested in these old myths, I recommend the books of the author and journalist Michael Kohlmeier, for example his amusing interpretations of the Sagen des Klassischen Altertums (Sagas of the classical antiquity). Just East of Batumi the Caucasus begins, with its colourful mixture of ancient peoples and cultures. I have always been fascinated with musicians who originate from this region. For example the composer Aram Katschaturian or the pianist David Gazarov, with whom I often play concerts. An Eastern groove suits this song well, quite comparable to a fast rumba. I suggest you play the intro (may be extended) and the theme (measures 6 to 39) first. Then you may improvise freely over the AABA-form of the theme. The last solo part is shortened because the B-part leads into a percussion solo. This percussion solo may be omited. After the last complete solo part you can repeat the theme and then play the al fine. For Improvisation: On a separate sheet I am offering some scales to the chords of the song in various transpositions, which is helpful as basic material for improvisations. Some chords (like the very first one) fit several different scales. Decide for yourself which one you prefer. Or maybe even make up your own. Even though these notes may sound right with the chords, one thing always holds true in creative music: There should be no dogmatic wrong or right. Sometimes what seems like a wrong note, could give the progression of the melody its special colour, tension and spice. Sometimes an improvisation with exclusive right notes is correct in music theory, but sounds terribly boring. Besides, every improviser is encouraged to happily help themselves to the chromatics. All of this is only a suggestion. Music becomes exciting and colourful when the basic material is interpreted in an imaginative and creative way!
$6.19
5.71 €
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Piano seul
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Mulo Francel, Quandro Nuevo
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Die Reise nach Batumi
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Roba Music Verlag
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SheetMusicPlus
Safika: Three Tales of African Migration (string quintet)
Piano Quintet,String Ensemble Piano - Level 5 - Digital Download SKU: A0.928493 Com…
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Piano Quintet,String Ensemble Piano - Level 5 - Digital Download SKU: A0.928493 Composed by Bongani Ndodana-Breen. 20th Century,African,Contemporary. Score and parts. 93 pages. Ndodana-Breen #6746413. Published by Ndodana-Breen (A0.928493). Migration, dislocation and exile have always been key themes in the historical narrative of the Black experience in South Africa. These three pieces for string quintet are personal responses/reflections to the various journeys that affected and shaped the lives of many. It can be argued that to some extent, South Africa continues to live with the sociopolitical consequences of this history of migration and dispossession.The unifying factor in all those who were touched by these journeys is memory. Remembering the lives left behind, the people, the songs, the dances, the connection to the land. Time might wear away the detail and new experiences splinter entire memories to fragments but nothing is completely erased. A certain driving rhythm, a flash of timbre, a fragment of melody, a cadence, a turn of musical phrase, even a few dance steps. These stay within as faint echoes, repeated sequences sometimes layered over each other, stuttering, staggering or sometimes as clear lyrical songs and dances, vibrant as the day first experienced. Safika means we arrived in Xhosa and in the context of these pieces, is an allegorical terminus of these journeys where reflection, affirmation and restoration begins.
$120.00
110.63 €
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Bongani Ndodana-Breen
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Safika: Three Tales of African Migration
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Ndodana-Breen
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SheetMusicPlus
Schumann - Knecht Ruprecht in A Minor - Intermediate
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1352491 Composed by Robert Schumann…
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Piano Solo - Level 3 - Digital Download SKU: A0.1352491 Composed by Robert Schumann. Arranged by Piacere Music Sheets. Chamber,Children,Christmas,Instructional,Standards. Score. 4 pages. Piacere Music Sheets #937301. Published by Piacere Music Sheets (A0.1352491). Opus/Catalog Number: Op. 68, No. 12Key/Tone: A minorYear/Date of Composition: 1848Difficulty: Grade 8/12 (Intermediate)Obs.: This energic piece is the twelfth of 43 short piano pieces in Robert Schumann's Album for the Young.Note: in measure 28, many editions have B3 as the last note of the left hand. However, Schumann's autograph shows a B3 that was scratched out and replaced with the D4.The character Knecht Ruprecht is also known as Servant Ruprecht.Ruprecht travels with Santa Claus, carrying with him a rod and a sack. He is sometimes dressed in black rags, bearing a soot-blackened face and unruly black hair.According to the legend, the children are summoned to the door to perform tricks, such as a dance or a song to show Santa and Ruprecht that they were good children throughout the year. Those who performed badly would be beaten soundly by Servant Ruprecht, and those who performed well were given a gift or some treats. Those who preformed very badly or had committed other misdeeds during the year were put into Ruprecht's sack and taken away to Ruprecht’s home in the Black Forest.
$6.95
6.41 €
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Piano seul
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Robert Schumann
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Piacere Music Sheets
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Schumann - Knecht Ruprecht in A Minor - Intermediate
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Piacere Music Sheets
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SheetMusicPlus
Lift Every Voice and Sing
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1294487 By Grace Bapt…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1294487 By Grace Baptist Church Cathedral Choir. By Words: James Weldon Johnson / Music: J. Rosamond Johnson. Arranged by Lyndell Leatherman. Christian,Historic,Patriotic,Religious,Spiritual. Score. 2 pages. Leatherman Music Services #884858. Published by Leatherman Music Services (A0.1294487). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano or organ solos.•Chord symbols included as a service to classical guitarists.•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.This hymn is also referred to as the Black National Anthem. If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I  (© FJH Music, distributed by Alfred Music).************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.
$2.99
2.76 €
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Piano, Voix et Guitare
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Grace Baptist Church Cathedral Choir
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Lyndell Leatherman
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some were not
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Lift Every Voice and Sing
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Leatherman Music Services
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SheetMusicPlus
Sea Drift for Horn Sextet with euphonium and tuba
Horn Ensemble Euphonium,Horn,Tuba - Level 4 - Digital Download SKU: A0.1224506 Comp…
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Horn Ensemble Euphonium,Horn,Tuba - Level 4 - Digital Download SKU: A0.1224506 Composed by Samuel Coleridge-Taylor. Arranged by Richard Decker. 20th Century,Chamber,Multicultural,Romantic Period,World. 38 pages. Charles Decker Music Press #820610. Published by Charles Decker Music Press (A0.1224506). Coleridge-Taylor's Sea Drift scored for Horn Sextet with euphonium and tuba captures the subtle textures of the composer’s chromatic harmonies inspired in his original vocal octet setting of a poem by T. B. Aldrich. Born of an African father, Coleridge-Taylor was an early 20th century English composer and conductor who was an influential advocate for Black composers.  One of Coleridge-Taylor's rare A Cappella compositions for vocal SATB double choir Sea Drift is infused with descriptive tone-color painting highlighting the tragic story of the merchant sailor who perishes in a stormy sea to the despair of his lover onshore. The arrangement is scored for six horns with euphonium and tuba playing the two lowest parts. The recording is of the entire edition.“The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!† Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music“I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.† Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$16.95
15.63 €
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Samuel Coleridge-Taylor
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Richard Decker
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Sea Drift for Horn Sextet with euphonium and tuba
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Charles Decker Music Press
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SheetMusicPlus
Sea Drift for Brass Choir
Ensemble de cuivres
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1430702
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1430702 Composed by Samuel Coleridge-Taylor. Arranged by Richard Decker. 20th Century,Contest,Festival,Historic,Multicultural,World. 64 pages. Charles Decker Music Press #1011201. Published by Charles Decker Music Press (A0.1430702). This brass choir arrangement set for an orchestral brass section of Coleridge-Taylor's Sea Drift captures the subtle textures of the composer’s chromatic harmonies inspired in his original vocal octet setting of a poem by T. B. Aldrich. Born of an African father, Coleridge-Taylor was an early 20th century English composer and conductor who was an influential advocate for Black composers. One of Coleridge-Taylor's rare A Cappella compositions for vocal SATB double choir here arranged for large brass ensemble, Sea Drift is infused with descriptive tone-color painting highlighting the tragic story of the merchant sailor who perishes in a stormy sea to the despair of his lover onshore. The arrangement is scored for an orchestral brass section of three B-flat trumpets with alternate C trumpet parts, four horns , three trombones and tuba. The recording is of the entire edition.“The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!” Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music“I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.” Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music use the series arrangements in their chamber and brass ensembles music programs. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series Brass” in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.
$27.95
25.77 €
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Ensemble de cuivres
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Samuel Coleridge-Taylor
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Richard Decker
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Sea Drift for Brass Choir
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Charles Decker Music Press
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SheetMusicPlus
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The Black Cat Rag
