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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CLARINETTE
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CORNET
DEEJAY
DIDGERIDOO
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The Fifth Element
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--INSTRUMENTS--
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AUTOHARPE
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CHORALE - CHAN…
CITHARE
CLAIRON
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COR
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CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
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FORMATION MUSI…
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The Fifth Element
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The Masters of the Violin
Violon
The Masters of the Violin. Composed by Mathieu Crickboom. This edition: Sheet music. …
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The Masters of the Violin. Composed by Mathieu Crickboom. This edition: Sheet music. Downloadable. Op. Vol. II. Schott Music - Digital #Q42355. Published by Schott Music - Digital
French.<br> <br> The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.French.<br> <br> The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.
$15.99
14.74 €
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Violon
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Mathieu Crickboom
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The Masters of the Violin
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Schott Music - Digital
#
SheetMusicPlus
The Fifth Element
Saxophone Alto
Alto Saxophone Solo - Level 5 - Digital Download SKU: A0.1318658 Composed by Eric S…
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Alto Saxophone Solo - Level 5 - Digital Download SKU: A0.1318658 Composed by Eric Serra. Arranged by Shaun Acker. Film/TV. Individual part. 1 pages. Shaun Acker #768864. Published by Shaun Acker (A0.1318658). Alto Saxophone arrangement of the Diva Dance from The Fifth Element by Eric Serra.
$5.00
4.61 €
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Saxophone Alto
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Eric Serra
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Shaun Acker
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The Fifth Element
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Shaun Acker
#
SheetMusicPlus
The Fundamentals of Music Theory - Booklet 1
Level 1 - Digital Download SKU: A0.1369230 By Jose Valladares. By Jose Valladares. …
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Level 1 - Digital Download SKU: A0.1369230 By Jose Valladares. By Jose Valladares. Arranged by Jose Valladares. 19th Century. Educational Method. 25 pages. Circlesquare Music #953582. Published by Circlesquare Music (A0.1369230). The Fundamentals of Music Theory: Booklet 1 by Jose Valladares serves as an introductory guide into the captivating realm of music theory. Targeted at both novices and enthusiastic learners, this booklet is designed as the first step in a transformative journey to understand the language of music. Likening music theory to the grammar of music, it aims to provide readers with the foundational tools to create, interpret, and communicate through music.The booklet begins with an exploration of the definition, significance, and historical evolution of music theory. It then delves into the core components that constitute music's framework:The Music Staff and Notes: Readers are introduced to the music staff, the bedrock for note placement, and learn how each line and space corresponds to distinct musical pitches. This section emphasizes the assembly of notes to create soul-stirring melodies.Clefs and Note Names: This part focuses on various clefs including treble, bass, alto, and tenor, which are crucial for reading and interpreting the music staff, and serve as navigational landmarks in the sea of notes.Rhythmic Notation: It addresses the essence of rhythm in music, covering note values, rests, dotted notes, and ties, enabling readers to grasp the rhythmic heartbeat of any composition.Time Signatures: The booklet explores time signatures, detailing how they organize a music piece and define its rhythmic character, from the steady beats of simple time to the flowing grace of compound time.Basic Scales and Key Signatures: It uncovers the foundational elements of melodies and harmonies, discussing major and minor scales, their emotional influences, and the Circle of Fifths, which serves as a guide through the relationships among different keys.By the end of The Fundamentals of Music Theory: Booklet 1, readers are expected to have a comprehensive understanding of music theory's basics. They will be well-equipped to decipher music's language, comprehend its notations, and fully appreciate the intricate craftsmanship involved in every musical composition. The booklet promises a journey of musical discovery, unwinding the intricacies of music theory one note and rhythm at a time.
$10.99
10.13 €
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Jose Valladares
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Jose Valladares
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The Fundamentals of Music Theory - Booklet 1
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Circlesquare Music
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SheetMusicPlus
The Tale Of The Slightly Miffed Dancing Bear
Tba. pft. - Intermediate-Advanced - Digital Download SKU: F2.FM597 Composed by Jame…
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Tba. pft. - Intermediate-Advanced - Digital Download SKU: F2.FM597 Composed by James Pickering. A piece for Tuba and piano. Score and part. 14 pages. Forton Music - Digital #FM597. Published by Forton Music - Digital (F2.FM597). ISBN 9790570484966.The story of this composition really begins with another composition entitled 'Play-Time' for solo piano. I showed the score for 'Play-Time' to a friend, Boryana Petkova a very talented pianist from Bulgaria, to whom I eventually dedicated 'the Dancing Bear'. After showing her 'Play-Time' she commented that part of it sounded like a Bulgarian folk dance. The potential of this intrigued me quite a lot so I sketched out a few bars intent on writing another piano piece based around this idea (the melodic line first heard in the Tuba part in the fifth bar after letter A). However, upon discussing these sketches with Boryana she mentioned they no longer sounded particularly Bulgarian. As this was the main aim of the sketches that eventually became 'The Dancing Bear' it is fair to say I was slightly miffed. Undeterred I decided to shift focus and write for the instrument I knew best, the Tuba. The 'Bear' part of the title refers to the tendency of composers to use Tubas to represent angry bears, most famously in Stravinsky's ballet 'Petrushka'. Musically it still contains quite a few elements of eastern European dance including the use of drones, some typical scales with flattened seconds and sevenths as well as the rhythmic oscillation between bars of 2,2,2,2 and 3,3,2 quaver (8th note) division. However, the goal for me was to writes a slightly humorous piece, with a technically demanding Tuba part, that could show off the musicians abilities and still retain the feel of a rhythmical dance.
$7.95
7.33 €
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James Pickering
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The Tale Of The Slightly Miffed Dancing Bear
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Forton Music - Digital
#
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 Masters of the Violin
Violon
Twelve books of Studies revised, annotated and fingered by Mathieu Crickboom. Compos…
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Twelve books of Studies revised, annotated and fingered by Mathieu Crickboom. Composed by Mathieu Crickboom. This edition: Sheet music. Downloadable. Op. IV. Schott Music - Digital #Q45248. Published by Schott Music - Digital
The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.
$16.99
15.66 €
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Violon
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Mathieu Crickboom
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The Masters of the Violin
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Schott Music - Digital
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SheetMusicPlus
The Masters of the Violin
Violon
Twelve books of Studies revised, annotated and fingered by Mathieu Crickboom. Compos…
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Twelve books of Studies revised, annotated and fingered by Mathieu Crickboom. Composed by Mathieu Crickboom. This edition: Sheet music. Downloadable. Op. Vol. I. Schott Music - Digital #Q42354. Published by Schott Music - Digital
French.<br> <br> The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.French.<br> <br> The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.
$15.99
14.74 €
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Violon
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Mathieu Crickboom
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The Masters of the Violin
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Schott Music - Digital
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SheetMusicPlus
Where Do I Begin (love Theme)
Chorale TTBB
Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.849935 By Andy Williams. B…
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Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.849935 By Andy Williams. By Frances Lai. Arranged by Sam Hubbard. Jazz. Octavo. 5 pages. Sam Hubbard #6864505. Published by Sam Hubbard (A0.849935). This is an arrangement designed for TTBB barbershop groups.Duration c.5:00.Designed for use in barbershop contests.Originally arranged for Fifth Element.Visit http://facebook.com/SamHubbardVocalArrangements/ for more information.
$1.99
1.83 €
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Chorale TTBB
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Andy Williams
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Sam Hubbard
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Where Do I Begin
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Sam Hubbard
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SheetMusicPlus
The Waterfalls
Small Ensemble Acoustic Guitar - Level 5 - Digital Download SKU: A0.1004522 Compose…
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Small Ensemble Acoustic Guitar - Level 5 - Digital Download SKU: A0.1004522 Composed by Arsdale Publishing. 20th Century,Concert,Contemporary. Score and parts. 29 pages. Arsdale Publishing #3555343. Published by Arsdale Publishing (A0.1004522). The Fifth Movement from Yosemite Suite: For Guitar Quartet Contents: Score and 4 Parts (PDF Format) Duration: 6:20 mins. Performing Rights: BMI. Contact Email: dr.van@sbcglobal.net Imagine entering Yosemite National Park and seeing the magnificent Yosemite Falls for the first time. And then the seeing the Bridalveil Falls, and then the Horsetail Falls, each uniquely awe inspiring. Can you capture the beauty and the experience into music? The composer attempts to in Yosemite Suite: For Guitar Quartet. Yosemite Suite is an advanced, modern work for concert performance. It is a somewhat programatic work as each of the five movements depict a various places or elements in Yosemite National Park. The work utilizes various compositional techniques such as: jazz harmony, whole tone scales, polytonality, metric modulation and stereo-effect voicings. The complete score - (all 5 movements) with an accompanying Mp3 file is also available. However, each movement is sold separately with the score and the 4 parts.
$9.99
9.21 €
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Arsdale Publishing
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The Waterfalls
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Arsdale Publishing
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SheetMusicPlus
The First Noel In C – Beginner/Elementary Christmas Piano Solo
Piano seul
Piano Solo - Level 1 - Digital Download SKU: A0.1097665 Composed by Traditional and…
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Piano Solo - Level 1 - Digital Download SKU: A0.1097665 Composed by Traditional and Traditional English Carol. Arranged by Amanda Tero. Christian,Christmas,Holiday,Religious,Traditional. Score. 2 pages. Amanda Tero #701603. Published by Amanda Tero (A0.1097665). The First Noel arranged for beginner/elementary pianists in the key of C with left hand intervals and basic right hand melody. Musical elements in The First Noel beginner/elementary piano sheet music - Key of C - Right hand single-note melody - Left hand explores a variety of intervals (fifths, sixths, thirds) - Left hand travels from B - C in staff - Finger numbers Teaching tips for The First Noel sheet music This is the perfect Christmas carol for students who need to practice their C scale in their right hand. Help the student find all the places where the C scale happens. Help the student master their recognition of third intervals. There are a few outliers, but overall the left hand is made up of thirds. #thefirstnoel #beginnerpiano #sheetmusic #christmaspiano.
$2.99
2.76 €
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Piano seul
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Traditional and Traditional English Carol
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Amanda Tero
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The First Noel In C – Beginner/Elementary Christmas Piano Solo
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Amanda Tero
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SheetMusicPlus
String Quartet #3 - A Year in the Life
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1460359 Composed by Greg Woodward. 21st Century,Chamber,Classical. 54 pages. Greg Woodward #1039292. Published by Greg Woodward (A0.1460359). My third string quartet is a playful and melodic work, encompassing a wide range of styles and moods with a high degree of thematic unity. The joyful, dance-like character of the opening eventually disintegrates into a moment of sorrow, before a pensive, introspective section with elements of Herrmann and Shostakovich. A grand crescendo leads to a huge A major chord (a reference to the Beatles' A Day In The Life) that gradually becomes more dissonant as it progresses underneath a constant high A pedal point in the first violin. A chant-like section featuring open fifths follows, before a driving, angular section in 5/4. This recurs a few times interspersed with some musical episodes before ushering in a majestic transformation of the earlier chant-like section. After this runs its course and dies out, a final section revisits the dance-like energy of the first section which borrows thematic material from all through the piece before speeding into a final jazzy major sixth pizzacato chord.This would make a good concert piece.Visit my YouTube page for more performances, arrangements and compositions.
$55.00
50.71 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Greg Woodward
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String Quartet #3 - A Year in the Life
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Greg Woodward
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SheetMusicPlus
Can't Stop The Feeling from TROLLS
Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.796737 By Justin Timbe…
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Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.796737 By Justin Timberlake. By Johan Schuster, Justin Timberlake, Max Martin, and Shellback. Arranged by Gary D. Belshaw (ASCAP). Dance,Pop. 40 pages. DR GARY D BELSHAW #4301061. Published by DR GARY D BELSHAW (A0.796737). For Advanced Intermediate Flute Choir. 40 pages, including one sample part page for display here. Duration: 3 minutes.This uptempo, disco- and soul-pop number with punk influences debuted as Justin Timberlake's fifth U. S. No. 1 single and is one of the top 20 longest running No. 1 singles on the Adult Contemporary chart. This arrangements spreads the almost uncontrollable joy among all the players in your ensemble, and its appeal will be to young and old alike. It's difficult enough to wow and yet accessible enough for pop-music lovers and arts aficionados alike. An optional cut from Rehearsals C to I makes this an ideal encore on a recruiting or publicity tour: short, but...wow!Look for opportunities for percussive and/or beatbox sounds throughout.Thank you for considering this work; your reviews of my work are really important to me. Follow Gary D.Belshaw Music on Facebook and Twitter (@GaryDBelshawMus). A like on this Sheet Music Plus page will be deeply appreciated.Take pride in your copy of this work. 1. Avoid cheap 20-lb office supply paper. Invest a couple extra bucks in some 22- or 24-lb. paper. 2. Avoid bright white sheets: look for beige, tan, or natural paper. 3. Always use a smooth-finish paper stock. 4. One final thought: if you have access to a printer or copier that will take 9 x 12 stock, your pages will be more like traditional printed music in size. Obtaining paper stock with the other elements listed above will result in music sheets that would look startling similar to products from long-established publishing houses.
$14.99
13.82 €
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Justin Timberlake
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Gary D
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Can't Stop The Feeling from TROLLS
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DR GARY D BELSHAW
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SheetMusicPlus
Can't Stop The Feeling from TROLLS
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.796738 By Justin Ti…
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Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.796738 By Justin Timberlake. By Johan Schuster, Justin Timberlake, Max Martin, and Shellback. Arranged by Gary D. Belshaw (ASCAP). Dance,Pop. 45 pages. DR GARY D BELSHAW #4302777. Published by DR GARY D BELSHAW (A0.796738). For Advanced Intermediate Clarinet Choir. 40 pages, including one sample part page for display here. Duration: 3 minutes.This uptempo, disco- and soul-pop number with punk influences debuted as Justin Timberlake's fifth U. S. No. 1 single and is one of the top 20 longest running No. 1 singles on the Adult Contemporary chart. This arrangement spreads the almost uncontrollable joy among all the players in your ensemble, and its appeal will be to young and old alike. Its Advanced Intermediate difficulty will be sufficient enough to wow and yet accessible enough for an audience filled with pop-music lovers and arts aficionados alike. An optional cut from Rehearsals C to I makes this an ideal encore on a recruiting or publicity tour: short, but...wow!Thank you for considering this work; your reviews of my work are really important to me. Follow Gary D.Belshaw Music on Facebook and Twitter (@GaryDBelshawMus). A like on this Sheet Music Plus page will be deeply appreciated.Take pride in your copy of this work. 1. Avoid cheap 20-lb office supply paper. Invest a couple extra bucks in some 22- or 24-lb. paper. 2. Avoid bright white papers: look for beige, tan, or natural paper. 3. Always use a smooth-finish paper stock. 4. One final thought: if you have access to a printer or copier that will take 9 x 12 stock, your pages will be more like traditional printed music in size. Obtaining paper stock with the other elements listed above will result in music sheets that would look startling similar to products from long-established publishing houses.
$12.99
11.98 €
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Ensemble de Clarinettes
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Justin Timberlake
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Gary D
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Can't Stop The Feeling from TROLLS
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DR GARY D BELSHAW
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SheetMusicPlus
Sagas Nos. 1-6
Orgue
Organ - advanced to difficult - Digital Download SKU: S9.Q6218 Composed by Jean Gui…
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Organ - advanced to difficult - Digital Download SKU: S9.Q6218 Composed by Jean Guillou. This edition: Sheet music. Downloadable. Op. 20. Duration 36 minutes. Schott Music - Digital #Q6218. Published by Schott Music - Digital (S9.Q6218). This is the name given to the ancient tales and legends of Scandinavia, mostly drawn up in Iceland. The term itself is of Germanic origin, form the verb 'sagen' which means to say, to recount. The title also has to do with what is said, what is recounted, in a musical epic of today. Three of these pieces, Sagas 2, 4 and 6, have the particularity of being improvisations. In Saga 1, the instrument seems to awaken out of a dream of which the two opposing elements gradually become ordered. Pedal staccati soon take control and come to predominate as they build up while, in a spirit of contradiction, various solo steps, Cornet, Cromore, unfold their melismas. The dream then reestablishes itself, this time for good. The second Saga is a sombre, frenetic dance based on groups of five semiquaves. It dies away, then, after a long silence, a note emerges, and this lone note, on three different solo stops, beaten, hunted by its two neighbouring notes in increasingly animated accents, anacruses and appoggiaturas, disappears, giving way to the sombre dance which then broadens out. It is interrupted all of a sudden by the irritated, exasperated, fuming tone of that harshness that overdoes itself and vanishes. The sombre dance appears one last time, letting itself go into paroxym. The third Saga unfolds as a very ancient chant, the memory of an Ossianic chant of the earliest times. The fourth Saga develops the lyricism of a tale to be told. But in midway comes a sort of destructive outburst of which the ever tighter links give way for a moment to pure narrativity, which, after a few upsets, ends the piece with the memory of great danger overcome by candour. The fifth Saga is a kind of quiet walk, interspersed with a few controversies, interceptions and demonstrations that are rather more lively. The sixth Saga develops a kind of theme in runs, whose constantly rhythmic rebounding might bring out the idea of apologetic or exalted acclamation.Jean Guillou (*1930) gilt als einer der bedeutenden Organisten und Orgelkomponisten der Gegenwart. Sein kompositorisches Schaffen umfasst über 40 Orgelwerke, außerdem Symphonien, Klavier- und Orgelkonzerte und Kammermusik. Auch bereichert der Dupré-Schüler, der seit 1963 Titularorganist an St. Eustache in Paris ist, das gängige Orgelrepertoire durch eine Reihe außergewöhnlicher Transkriptionen von Orchesterwerken.
$22.99
21.19 €
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Orgue
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Jean Guillou
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Sagas Nos. 1-6
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Schott Music - Digital
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SheetMusicPlus
Carson Cooman: Biblicals: Concerto for Solo Piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.533692 Composed by Carson Cooman. 2…
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Piano Solo - Level 5 - Digital Download SKU: A0.533692 Composed by Carson Cooman. 20th Century,Concert,Contemporary,Sacred,Standards. Score. 17 pages. Musik Fabrik Music Publishing #3038635. Published by Musik Fabrik Music Publishing (A0.533692). Biblicals: Concerto for Solo Piano in Five Movements (1998) was commissioned from thecomposer by an anonymous benefactor for pianist Kathleen Supové in tribute of her tirelesssupport of new music.The work is in five movements, each inspired by a different biblical quotation which isquoted in the score before each movement. If possible, these passages should be printed inthe program or read aloud before the performance of the work. Each movement isprogrammatic only in an internal sense. While the movements do not attempt to directlyportray the action of the passage in a storybook sense, they do attempt to capture the overallaffect of the verse. The form of the work is as a concerto for solo piano drawing on a titlethat has been used in the past by numerous composers. Likewise, although the work does notinvolve an orchestra, I have titled it concerto because it contains elements of a concerto solopart and because of the virtuosity required to perform the work. The work explores a widerangeof styles from quasi-lyrical to highly chromatic. Throughout, the work has a rhythmicintensity which should be observed by the performer.The first movement, Hovering Over the Waters, makes use of an irregular rhythmic patternintroduced in the opening measure and used throughout the work. Irregular and nervousrhythms using chromatic intervals pervade the entire movement.The second movement, Baldhead, is a forceful and loud movement making use of the clashbetween diatonic and pentatonic clusters. It is relentless in its pounding energy, irregularrhythms, and volume. This movement is dedicated to American composer Daniel Pinkhamon the occasion his 75th birthday in 1998. The connection of this movement to Pinkhamcomes in the superimposition of pentatonic and diatonic clusters, a technique used so well inone of my favorite Pinkham works, Blessings for Organ (1978).The third movement, Forgiven and Free, presents a tranquil scene involving the building ofchords, standard and otherwise, through the adding of tones one at a time. Brief chromaticmelodies appear and then disappear quickly.The fourth movement, Under the Sun, makes use of a motive involving four chords over a lefthand bass consisting of a major-tenth chord. This motive appears throughout the movement,constantly breaking in and interrupting the action. A variety of irregular rhythmic motivesappear throughout as a contrast to the main motive with its strict rhythm. Quotes of nurseryrhyme tunes are hidden throughout the movement as well in various forms.The fifth movement, The Seventh Angel, is a fast and furious tarantella. As the movementflies by a variety of musical ideas emerge and then disappear into the main motive again.The music continues to get faster and faster and finally the movement ends with a furiousprogression from the bottom to top of the piano and then a thunderous unison chord in thelower register.
$16.95
15.63 €
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Piano seul
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Carson Cooman
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Carson Cooman: Biblicals: Concerto for Solo Piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Goya for Clarinet & String Quartet (Piano reduction)
Clarinette et Piano
B-Flat Clarinet,Piano - Level 5 - Digital Download SKU: A0.962432 Composed by Salva…
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B-Flat Clarinet,Piano - Level 5 - Digital Download SKU: A0.962432 Composed by Salvador Rojo Gamón. 20th Century,Instructional,Standards. Score and part. 52 pages. Salvador Rojo-Gamon #6429753. Published by Salvador Rojo-Gamon (A0.962432). Goya for Clarinet and String QuartetThis work was Commissioned by Bernardino Assunçao Sales for the Final work Master. I just have finished the process and it is based on the next five Paintings of Goya.Corral de locosVuelo de brujasEl aquejareEl ColosoSaturno devorando a su hijoThe general structure of the workRelationship of movementsThe third is the axis, the form is based on a false mirror where the (original) elements are presented by opposite movement forming a false palindrome.The elements thematic of the movements are related, the elements of the first movement reappear in the fifth movement and the elements of the second movement are related in the fourth.I-VII-IVUse of rhythmicsThe predominant rhythm in the first movement is based on a four-beat measure and in the second movement is based on a three-beat measure. These features are even more present in the fourth and the fifth movement.In the third movement (who does the axis of the work) the primary theme is structured over the ternary measure plus a quaternary measure 3/4 + 4/4 and the secondary theme over a quaternary measure plus a ternary measure 4/4 + 3/4.Program notesFirst MovementCorral de LocosThe first movement starts describing the characters of the painting Corral de Locos. The string represents the sick and the clarinet the keeper.In the first section, the language used is formed on the octatonic scale. The second section represents the feelings of the participants, the feelings of the protagonists are described. Nostalgia, longing for freedom, longing, etc. Second MovementVuelo de Brujas
$20.00
18.44 €
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Clarinette et Piano
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Salvador Rojo Gamón
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Goya for Clarinet & String Quartet
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Salvador Rojo-Gamon
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SheetMusicPlus
String Quartet No. 4
Quatuor à cordes: 2 violons, alto, violoncelle
String quartet - difficult - Digital Download SKU: S9.Q3175 Composed by Peteris Vas…
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String quartet - difficult - Digital Download SKU: S9.Q3175 Composed by Peteris Vasks. This edition: score and parts. Downloadable, Score and parts. Duration 32 minutes. Schott Music - Digital #Q3175. Published by Schott Music - Digital (S9.Q3175). The Latvian composer Peteris Vasks, who is known for his atmospheric pieces for string orchestra, “Cantabileâ€, “Musica dolorosa†and “Voicesâ€, is concentrating increasingly on chamber music: his latest works are the “Partita†for cello and piano, the “Fifth String Quartet†and a piano quartet. Vasks has brought elements of ancient and folk traditions in Latvian music into his compositions. While most of his works have programmatic titles relating to natural processes, Vasks is not concerned with a poetic homage to Nature, nor with depiction of landscape as an aesthetic ideal. The main themes which Vasks explores in his most recent musical work are the reciprocal relationship between man and Nature, the beauty of life and the impending ecological and moral destruction of these values.
$45.99
42.4 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Peteris Vasks
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String Quartet No. 4
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Schott Music - Digital
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SheetMusicPlus
Impromptu No. 5 for Trombone and Piano
Trombone et Piano
Piano,Trombone - Level 4 - Digital Download SKU: A0.1258648 Composed by P. F. Stroh…
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Piano,Trombone - Level 4 - Digital Download SKU: A0.1258648 Composed by P. F. Strohm. 21st Century,Classical,Contemporary,Contest,Festival. Score and part. 24 pages. Pete Strohm Music #851907. Published by Pete Strohm Music (A0.1258648). Impromptu No. 5 for Trombone and Piano is the fifth in a set of impromptus from American composer P. F. Strohm, written to showcase different these two instruments. It is dedicated to American trombonist Peter Ellefson. All five impromptus emphasize tone, technique and musicality for both trombonist and pianist. They are outstanding works for contest, concert or recital, either individually or as a set. The fifth impromptu combines elements from the first four impromptus such as long flowing melodies, piano hand-crossings, and driving energy, in an arch form comprised of five different dance-like sections. It is a blend of energy and grace, relying on technique, musicality and teamwork to paint a coherent picture from its five scenes. Difficulty level is medium-advanced. Performance time is 5:50. Â Member, ASCAP.
$10.00
9.22 €
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Trombone et Piano
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P
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Impromptu No. 5 for Trombone and Piano
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Pete Strohm Music
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SheetMusicPlus
The Diva Dance by Joe Harris - Piano/Vocal, Singer Pro
Piano, Voix
Sheet Music for The Diva Dance from The Fifth Element arranged for Piano/Vocal;Singer Pro …
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Sheet Music for The Diva Dance from The Fifth Element arranged for Piano/Vocal;Singer Pro in G# Minor. Digital sheet music from Musicnotes. --
$6.99
6.44 €
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Piano, Voix
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Piano/Vocal, Singer Pro
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Musicnotes
Soleil-Feu
Violon et Piano
Violin and piano - difficult - Digital Download SKU: S9.Q21833 For violin and pi…
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Violin and piano - difficult - Digital Download SKU: S9.Q21833 For violin and piano. Composed by Thierry Pecou. This edition: Sheet music. Downloadable. Duration 6 minutes. Schott Music - Digital #Q21833. Published by Schott Music - Digital (S9.Q21833). This work is part of a cycle of five short pieces for a single instrument and piano, focused on the five ages in the cosmogony of Ancient Mexican civilisation. The peoples of the Mexican highlands believe that time follows specific cycles and that the world was created following the pattern of 'trial and error'. The creation of the world is divided into several periods which are termed 'suns' (we are currently living in the fifth phase named 'Ollin'). Each period will be brought to an end through a natural catastrophe. Solei-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl).The element of fire is reflected in the musical soundscape of this work, constructed from rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space. An intimate dialogue develops between violin and piano on the basis of extremely simple figures. Interconnecting lines and dense musical material are thrown against each other in a play of contrasting registers and blended tonal colouring, creating a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry PécouSoleil-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl) as described in the cosmogony of Ancient Mexican civilisation. The element of fire is reflected in the musical soundscape of this work; rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space create a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry Pécou.
$16.99
15.66 €
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Violon et Piano
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Thierry Pecou
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Soleil-Feu
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Schott Music - Digital
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SheetMusicPlus
Standing 3 late beginner hymn collection (Brethren We Have Met to Worship, I Am Resolved, Standing o
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1172421 Composed by James H. Fillmo…
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Easy Piano - Level 1 - Digital Download SKU: A0.1172421 Composed by James H. Fillmore, R. Kelso Carter, and William Moore. Arranged by Amanda Tero. Children,Christian,Religious,Sacred. Score. 9 pages. Amanda Tero #772646. Published by Amanda Tero (A0.1172421). Delight your late beginner students with three exciting hymns in level 2 sheet music solos. These are specifically arranged for the students who like a little bouncy touch to their hymns.Great for church services or recital for both piano students and piano teachers. This works well for the smaller church offertories that only need about 1 minute of piano playing.This piano sheet music is equivalent to most Level 2 or ABRSM Grade 2.6 pages total. 1 piece in F. 2 pieces in C. Musical elements in Brethren We Have Met to Worship Note values: whole notes, dotted half notes, half notes, half rests, quarter notes, eighth notes Note reading: bass clef C2 to F4, treble clef Bb3 to A5 8va RH reading bass clef RH over left hand Accidentals Ties Finger numbers Practice tips for Brethren We Have Met to Worship The most fun–and hardest–part of this arrangement is the right hand, measures 11-14. The right hand is not only reading bass clef, but is reading the lowest notes in the piece of music. This is a great place to start. Additionally, the left hand for the first page is an open fifth the entire time but changes on the second page. So it may be beneficial to start learning the left hand intervals on the second page first. Musical elements in I am Resolved Note values: whole notes, half notes, quarter notes, eighth notes, eighth rests Note reading: bass clef C2-E4, treble clef C4-E5 Drop-roll (slur-staccato) Staccatos Moving left hand Accidentals LH octave reach A lot of thirds Broken chords Practice tips for I am Resolved While the left hand starts with a catchy left hand pattern, it does get more complicated for the chorus, starting in measure 11. It would benefit the student to focus a little extra attention on the rapidly changing notes of the left hand for the chorus. While the chorus is harder, it does feature repetition, so have the student identify the measures that are the same. Musical elements in Standing on the Promises Note values: whole notes, half notes, half rests, quarter notes, quarter rests, eighth notes Note reading: bass clef C2-E4, treble clef C4-C6 Fermata Staccatos Accidentals Chromatic scale LH octave reach Practice tips for Standing on the Promises If your student doesn’t know their chromatic scale yet, this is the perfect piece to teach it to them! If they already know a chromatic scale, then they will be able to easily master the last two measures. There is a solid left hand pattern that will be beneficial to help the student analyze. If they figure out the pattern it will make learning easier.
$9.99
9.21 €
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Piano Facile
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James H
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Amanda Tero
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Standing 3 late beginner hymn collection
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Amanda Tero
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SheetMusicPlus
Prelude 5 from "Book of Preludes: 1-15 for Piano"
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.991990 Composed by Barry Michael We…
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Piano Solo - Level 4 - Digital Download SKU: A0.991990 Composed by Barry Michael Wehrli. 20th Century,Contemporary,Standards. Score. 3 pages. Wehrli Publications #3383769. Published by Wehrli Publications (A0.991990). Recording duration: 2:54. Recording excerpt begins at measure 1. Prelude 5 is the fifth of 15 works available in the Book of Preludes: 1-15 for Piano, a collection of character pieces by keyboardist, author, educator, and Wehrli Publications founder, Barry Michael Wehrli. These evocative preludes resemble the short, expressive pieces of Beethoven, Chopin and Debussy, but possess elements of later styles such as 20th century, new-age, jazz and more. Aside from their value as outstanding new performance repertoire, advanced students and professionals are discovering the pedagogical value of the Preludes as they make their way into state teaching organizations across the country such as CAPMT (California) and UMTA (Utah). Teachers often search for new and appealing serious music for their piano students. Yet such music is hard to find. The complete Book of Preludes offers nearly an hour of diverse music, each prelude creating its own unique sense of musical journey. All preludes contain damper and sostenuto pedal indications, bar numbers, suggested fingering, and tempo and dynamic marks reflecting the composer’s recorded performance. Reviews are available at the locations below. The Complete Book of Preludes: 1-15 for Piano - In Print: wehrlipubs.com/shop/book-of-preludes. The Complete Book of Preludes: 1-15 for Piano - Studio Recordings: wehrlipubs.com/shop/book-of-preludes-cd. Purchased Books or CDs will be autographed by the composer upon request. Social media and contact information is available at Wehrli Publications: wehrlipubs.com. Barry is a member of the Music Teachers Association of California (MTAC), the California Association of Professional Music Teacher (CAPMT), and ASCAP. He welcomes your thoughts on the Preludes and is happy to answer any questions regarding the Wehrli Publications catalog of piano instruction materials.
$1.99
1.83 €
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Piano seul
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Barry Michael Wehrli
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Prelude 5 from "Book of Preludes: 1-15 for Piano"
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Wehrli Publications
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SheetMusicPlus
Hidden Cove intermediate piano solo in 5/4 meter
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1273551 Composed by Amanda Tero. 21…
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Piano Solo - Level 3 - Digital Download SKU: A0.1273551 Composed by Amanda Tero. 21st Century,Contemporary,Instructional. Score. 8 pages. Amanda Tero #865691. Published by Amanda Tero (A0.1273551). Hidden Cove is an intermediate piano solo in 5/4, offering a mesmerizing journey to a world of secluded serenity. It serves as an oasis of tranquility, a respite from the chaos of the outside world. This piece provides valuable practice in inner voicing and mastering the 5/4 meter for your student's musical growth. Hidden Cove intermediate piano solo technical & pedagogical aspects Hidden Cove intermediate piano sheet music is written in 5/4 with a gentle 3+2 pattern.The right hand features middle-voice melody, where the student must practice voice leading. Sections of harmonic sixths walk up and down the piano. There are 4 measures with octaves.The left hand is a basic pattern of fifths and then broken chords.This makes a peaceful intermediate piano solo for recitals.5 pages. Key of G. Musical Elements in Hidden Cove intermediate piano sheet music:   - 5/4 meter  - Note values: whole note, dotted half note, half note, dotted quarter note, quarter note, eighth note  - Note reading: bass clef C2-D4, left hand in treble clef, treble clef E3-F#5  - Right hand sixths scale  - 8va  - Slight syncopation  - Repeated melodies  - Repeated sections Teaching Tips for Hidden Cove intermediate piano sheet music The emphasis of this piece is the 5/4 meter. Be sure your student can capture a gentle ebb and flow with the meter. It is to be very natural, not forced.There is a basic melody that is repeated in both inner voices and outer voices. Helping the student identify the melody throughout the piece will help them in learning it.There are three basic left hand patterns: open fifths, rocking fifths, and then simple broken chords (root - fifth - root).Read the imagery description above to your student to help them capture the essence of this piece.
$4.99
4.6 €
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Piano seul
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Amanda Tero
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Hidden Cove intermediate piano solo in 5/4 meter
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Amanda Tero
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SheetMusicPlus
Swedish Dances
2fl. Pft. - Intermediate-Advanced - Digital Download SKU: F2.FM393 Composed by Max …
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2fl. Pft. - Intermediate-Advanced - Digital Download SKU: F2.FM393 Composed by Max Bruch. Arranged by Robert Rainford. Two Flutes and Piano. Score and Parts. 31 pages. Forton Music - Digital #FM393. Published by Forton Music - Digital (F2.FM393). ISBN 9790570482924.Two Flutes and Piano - These dances were first published in 1892 for violin and piano, although Bruch later arranged them for solo piano, and also for orchestra. The slow, stately introduction leads in to seven dances in volume one, each a charming character study. Individual movements are dramatic, then tranquil; dance-like then reflective. The third, fifth and seventh movements have the feeling of folk-dances, while the others are more lyrical and expressive. Structurally the pieces are fairly simple, with melody sections flowing in to each other. Some ideas are developed into links and codas. In this arrangement, both players share the melodic material fairly evenly. Each has a solo movement to play, with the other movements featuring call and answer moments, harmony sections and contrapuntal elements to enjoy. Technically quite advanced, with the first flute covering the whole range of the instrument, these gems of pieces are well worth working on.
$15.95
14.7 €
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Max Bruch
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Robert Rainford
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dance-like then reflective
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Swedish Dances
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Forton Music - Digital
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SheetMusicPlus
O Niske Vane: from Angel of Light
Soprano voice solo and SATB choir (divisi) unaccompanied - Moderately Difficult - Digital …
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Soprano voice solo and SATB choir (divisi) unaccompanied - Moderately Difficult - Digital Download SKU: MQ.9251-E Composed by Kevin Siegfried. All Saints/All Souls. 8 pages. E. C. Schirmer Music Company - Digital #9251-E. Published by E. C. Schirmer Music Company - Digital (MQ.9251-E). English.O Niske Vane is the fifth movement of Angel of Light, a cantata based on Shaker texts and melodies. Adapted from two Shaker anthems from 1840, O Niske Vane serves as a dialogue between soprano soloist and chorus, featuring English language text and a refrain in an “unknown tongue.†The use of non-lexical vocables and unknown tongues are common elements of early Shaker music and a prominent focus of Angel of Light.
$2.25
2.07 €
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Kevin Siegfried
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O Niske Vane: from Angel of Light
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
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