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The Scientist - Coldplay
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The Spirits of Cahuachi - Score Only
Large Ensemble - Level 5 - Digital Download SKU: A0.1088411 Composed by Antonio Ger…
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Large Ensemble - Level 5 - Digital Download SKU: A0.1088411 Composed by Antonio Gervasoni. Classical,Contemporary. Score and parts. 20 pages. Antonio Gervasoni #692676. Published by Antonio Gervasoni (A0.1088411). Single-movement work for 10 musicians. This piece is inspired by the reading of the book 'Behind the Silence: Music in the Nasca Culture', by the Polish scientist Anna Gruszczyńska-Ziółkowska, which describes the discovery, in 1994, of several antaras (Andean pan flutes) made of clay in a temple in the city of Cahuachi, the political and cultural center of the Nasca culture. The book includes tables with the exact tones that each tube is capable of producing. The Spirits of Cahuachi uses these tones, i.e. their approximate counterpart in our modern tuning system, treating them in different ways, sometimes as chords, sometimes as scales, sometimes as pitch-class sets, fragmenting the sets, and then overlapping the resulting groups, etc. Of course, there is no intention to produce something that resembles the music of the ancient Nasca inhabitants. We don't know anything about their music. None of it has survived with the exception of these tones, these 'spirits' contained in the pipes of the antaras discovered in Cahuachi.
$6.99
6.42 €
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Antonio Gervasoni
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The Spirits of Cahuachi - Score Only
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Antonio Gervasoni
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SheetMusicPlus
O CIENTISTA - The Scientist
Saxophone (partie séparée)
Baritone Saxophone Solo - Level 4 - Digital Download SKU: A0.836840 Composed by GIL…
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Baritone Saxophone Solo - Level 4 - Digital Download SKU: A0.836840 Composed by GILSON SANTOS. Concert,Contemporary,Graduation,Latin,Standards. Individual part. 8 pages. Gilson Santos #5733277. Published by Gilson Santos (A0.836840). The Scientist - for Solo Baritone Saxophone. Piece dedicated to the Brazilian Saxophonist Daniel Freire, friend of the Master's course at the University of Rio de Janeiro.
$9.99
9.17 €
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Saxophone (partie séparée)
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GILSON SANTOS
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O CIENTISTA - The Scientist
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Gilson Santos
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SheetMusicPlus
Back To The Future
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.1081763 Composed by Alan Silvestr…
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Concert Band - Level 4 - Digital Download SKU: A0.1081763 Composed by Alan Silvestri. Arranged by Graham Boag. 20th Century,Broadway,Film/TV,Musical/Show. Score and parts. 187 pages. Graham Boag #685889. Published by Graham Boag (A0.1081763). Back to the Future is a 1985 American science fiction film directed by Robert Zemeckis, and written by Zemeckis and Bob Gale. It stars Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover, and Thomas F. Wilson. Set in 1985, the story follows Marty McFly (Fox), a teenager accidentally sent back to 1955 in a time-traveling DeLorean automobile built by his eccentric scientist friend Doctor Emmett Doc Brown (Lloyd). Trapped in the past, Marty inadvertently prevents his future parents' meeting-threatening his existence-and is forced to reconcile the pair and somehow get back to the future. Back to the Future was conceived of in 1980 by Gale and Zemeckis. They were desperate for a successful film after numerous collaborative failures, but their idea was rejected over 40 times by studios because it was not considered raunchy enough to compete with the successful comedies of the era. A development deal was secured following Zemeckis' success directing Romancing the Stone (1984). Fox was the first choice to portray Marty, but he was unavailable; Eric Stoltz was cast instead. Shortly after principal photography began in November 1984, Zemeckis determined Stoltz was not right for the part and made the concessions necessary to hire Fox. This included re-filming scenes already shot with Stoltz and adding $4 million to the budget. Back to the Future was filmed in and around California and on sets at Universal Studios. Filming concluded the following April. Replacing Stoltz delayed production and the film's release date but, following highly successful test screenings, the date was brought forward to July 3, 1985, to give Back to the Future more time in theaters. This resulted in a rushed post-production schedule, and some incomplete special effects. Back to the Future was a critical and commercial success, earning $381.1 million to become the highest-grossing film of 1985 worldwide. Critics praised the story, comedy, and the cast-particularly Fox, Lloyd, Thompson, and Glover. It received multiple award nominations and won an Academy Award, Saturn Awards, and a Hugo Award. Its theme song, The Power of Love by Huey Lewis and the News, was a significant success globally. In the years since its release, Back to the Future has grown in esteem and is now considered to be among the greatest films of the 1980s, one of the best science-fiction films ever made, and one of the greatest films of all time. In 2007, the United States Library of Congress selected the film for preservation in the National Film Registry. The film was followed by two sequels, Back to the Future Part II (1989) and Back to the Future Part III (1990). With its effect on popular culture and a dedicated fan following, Back to the Future launched a multimedia franchise. This includes an animated television series, video games, comic books, board games, clothing, music, books, food, toys, collectibles, and theme park rides. Its enduring popularity has led to numerous books about its production, documentaries, and commercials. Back to the Future has been adapted into a 2020 stage musical.
$59.99
55.09 €
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Orchestre d'harmonie
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Alan Silvestri
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Graham Boag
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Eric Stoltz was cast instead
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Back To The Future
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Graham Boag
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SheetMusicPlus
We March for Scientists (theme for the March for Science)
Piano, Voix
Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.561010 Composed by Samuel Fr…
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Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.561010 Composed by Samuel Francis Smith, Samuel Stokes. Arranged by SamuelStokesMusic.com. A Cappella,Folk,Patriotic. Score. 1 pages. SamuelStokesMusic.com #3063223. Published by SamuelStokesMusic.com (A0.561010). This song was written for the March for Science based on the theme My Country 'Tis of Thee/God Save the Queen. Can be sung a cappella or with accompaniment instruments. Learn more about Samuel Stokes at http://www.SamuelStokesMusic.com
$1.99
1.83 €
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Piano, Voix
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Samuel Francis Smith, Samuel Stokes
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SamuelStokesMusic
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We March for Scientists
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SamuelStokesMusic.com
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SheetMusicPlus
The Silent Landscape
Chorale SSAA
SSAA chorus and harp (or piano) - Digital Download SKU: BJ.1283 Composed by Linda A…
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SSAA chorus and harp (or piano) - Digital Download SKU: BJ.1283 Composed by Linda Alexandersson. Octavo. 20 pages. Bo Ejeby Forlag - Digital #1283. Published by Bo Ejeby Forlag - Digital (BJ.1283). 8.27 x 11.7 inches.The Silent Landscape is a suite for women's choir and harp (or possibly piano) inspired by the exploration expedition onboard the British H.M.S. Challenger 1872-1876. The scientist's main task was to measure the depth of the ocean and collect information about life on the bottom of the sea. The texts of the suite are parts of letters and reports, written by the members of the expedition. The composition was premiered by the choir Korallerna and the harpist Miriam Klein Strandberg in October 2014. Linda Alexandersson (b. 1984) is a Malmo-based composer, arranger, conductor and singer. She has a Master of Education degree from Malmo Academy of Music, where she specialized in composition.
$5.20
4.78 €
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Chorale SSAA
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Linda Alexandersson
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The Silent Landscape
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Bo Ejeby Forlag - Digital
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SheetMusicPlus
Playing with Scales
Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Ins…
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Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richard Hirsch (A0.1314698). Many amateur guitarists and beginning students of guitar are ‘stuck in the first position’. The rest of the fretboard is ‘terra incognita’. They don’t know where the notes are and they don’t know how to get to them and use them in playing melodies. To help remedy this situation, I offer a collection of scales and exercises I have developed over the years that have helped me master the fretboard of the guitar and that I have used to warm up my left and right hands before practicing or playing proper pieces. Guitarists afraid to move up the fretboard miss out on all the tonal nuances that the guitar has to offer. They also often have undeveloped left hand technique with a little finger that flies around helplessly and uselessly. These scales and exercises will, if played regularly, put the little finger to good use and guide the left hand to orient to the fretboard properly, staying close to the fretboard with fingers that move as little and as efficiently as possible. They are also relaxing and fun to play around with. I read somewhere a while back that medical science had found that pianists were less likely to develop brain diseases. The scientists attributed this to the many hours pianists spend playing scales, as this is like a gentle brain massage. So scales are not only good warm up exercises for the fingers but also good warm-ups for the brain.The scale exercises written here in the keys of G and C should be played in different keys in higher positions on the fretboard. Students can try to see just how far up the neck they can go to reach the highest notes. After a while, what seemed challenging and strange will start to feel comfortable and familiar. Don’t hesitate to develop new variants of the scales when you grow tired of playing them as I propose here. Have fun playing and playing with the scales!The exercises often start in one position and move toward other higher or lower positions on the fretboard. When moving from one position to another, follow the suggested fingerings to utilise what is called a lead finger to move the hand to the next position. This will make the movement smooth and not interrupt the flow of the scale. In the end all movement should look and feel seamless and effortless.I have chosen scales in major keys I think are particularly good to play on the guitar. To practice a scale in a minor key, start the exercise in the related major key from the fundamental of the minor key, for example, to play an E minor scale start the G major exercise on an E and play from there. This is one way of creating new variants of these scales. Another way to vary the exercises is to play the scales in different time signatures or rhythms.I believe these exercises are particularly helpful for amateur guitarists who play in ensembles of different kinds, duos, trios, quartets, where the guitarist often only has one melodic line to play. Such melodies often sound much better played in higher positions where the guitar can be made to sing, rather than in the first position where the same tones, especially on open strings, often sound rather dull. From my own experience, I find that when I play a melody in a higher position using all the fingers of the left hand, the melody not only sounds better, the fingers remember the melody better.Â
$4.99
4.58 €
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Richard Hirsch
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Playing with Scales
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Richard Hirsch
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SheetMusicPlus
Take Me to the Stars
High Voice - Level 3 - Digital Download SKU: A0.1127909 By Sappho. By Sappho Hansen…
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High Voice - Level 3 - Digital Download SKU: A0.1127909 By Sappho. By Sappho Hansen Smythe. Arranged by Sappho Hansen Smythe. Pop. Full Performance. Duration 231. Sappho Hansen Smythe #728518. Published by Sappho Hansen Smythe (A0.1127909). The opening number of Sappho's narrative EP, FIGHT TO THE DEATH, in which a lonely scientist seeks connection with something greater.
$1.99
1.83 €
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Sappho
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Sappho Hansen Smythe
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Take Me to the Stars
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Sappho Hansen Smythe
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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)
$23.99
22.03 €
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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 Mad Scientist's Brain Ticks Over
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1343967 By Rob JKennedy. By …
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1343967 By Rob JKennedy. By Rob J Kennedy. 21st Century. 7 pages. Rob J Kennedy #929475. Published by Rob J Kennedy (A0.1343967). From my 2018 album 1950's Sci-Fi Suite. The Mad Scientist's Brain Ticks Over
$2.00
1.84 €
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Orchestre de chambre
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Rob JKennedy
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The Mad Scientist's Brain Ticks Over
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Rob J Kennedy
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SheetMusicPlus
The Inventor
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1011341 Composed by Chris Brindley.…
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Piano Solo - Level 4 - Digital Download SKU: A0.1011341 Composed by Chris Brindley. 20th Century,Concert,Contemporary. Score. 4 pages. Chris Brindley Music #3219151. Published by Chris Brindley Music (A0.1011341). The Inventor is a theme and variations journey into an inventors workshop.Through the piece you can hear the quirks of the inventor, and his progression as he works from a simple idea and develops it into a creation which a mad scientist would be proud of. You can even hear his prototype slowly wind down, with an optional nails over keys break to create the sound of winding up the machine back up again.
$3.99
3.66 €
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Piano seul
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Chris Brindley
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The Inventor
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Chris Brindley Music
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SheetMusicPlus
The Song of Cyrus Kleiner, the Nanotechnologist
Small Ensemble,Strings Medium Voice,Piano Accompaniment - Level 4 - Digital Download SK…
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Small Ensemble,Strings Medium Voice,Piano Accompaniment - Level 4 - Digital Download SKU: A0.837480 Composed by Brett L. Wery. Concert,Contemporary. Score and parts. 47 pages. Sonata Grendel Publishing #3115889. Published by Sonata Grendel Publishing (A0.837480). Cy’s Song comes from the character Cyrus Kleiner, the nanotechnologist in the comic fantasy The Pastry Chef, the Nanotechnologist, the Aerobics Instructor and the Plumber, by celebrated author, Eugene Mirabelli. Here, Cy tells us how he met Samantha Giardino at a conference on Nature and Technology. Cy is a scientist who thinks highly of himself, the rules of physics, and the field of nanotechnology – a discipline dealing with extraordinarily small bits of matter. Samantha, on the other hand, is a pastry chef who thinks little of herself and believes her job is trivial and unimportant. She’s easy going and easily impressed by the nanotechnologist. Story and lyrics by Eugene Mirabelli, music by Brett L. Wery. This 8 minute song has the feel of an opera scene and is ideal as recital repertoire. The baritone part is demanding yet poignant funny at times. The string quartet parts are suitable for college or professional players. It could be performed with the piano accompaniment (included). You can find information on Brett L. Wery’s music at:http://www.societyofcomposers.org/members/BrettL.Wery/ or follow him on Facebook at: https://www.facebook.com/werymusic/ You can find Eugene Mirabelli at: http://mirabelli.net/
$27.95
25.67 €
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Brett L
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The Song of Cyrus Kleiner, the Nanotechnologist
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Sonata Grendel Publishing
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SheetMusicPlus
Imagine the Future, Space Travel 2.0
Chorale 2 parties
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.690659 Composed by Debbie Al…
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.690659 Composed by Debbie Allen. Children,Contest,Festival,Instructional. Octavo. 10 pages. Nottingham Scores #299318. Published by Nottingham Scores (A0.690659). Imagine the Future, Space Travel 2.0, a work for 2-part Treble Choir, encourages students to imagine what impact the future of space flight and exploration will have on our lives. I remember watching the lunar landing on my little black and white TV screen in 1969. Yes, I’m that old. My imagination and awe soared as I considered changes that would happen as a result. Fast forward to 2022. We have a space station that has been orbiting the Earth since the year 2000, continuously occupied with astronauts and scientists. We have multiple telescopes, surpassing our galaxy, sending photos and information back to Earth. We have rovers on Mars. We are sending civilians into space on privately owned rockets! The future is bright. Enjoy the simplicity of initial harmonies and melodies that become increasingly complex as this music for choir develops to an exciting climax, ending in luscious chords that emphasize the wonderment of space.
$1.99
1.83 €
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Chorale 2 parties
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Debbie Allen
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Imagine the Future, Space Travel 2.0
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Nottingham Scores
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SheetMusicPlus
Prince Igor Theme (flute duet) Borodin
2 Flûtes traversières (duo)
Flute Duet Flute - Level 2 - Digital Download SKU: A0.502698 Composed by Alexander …
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Flute Duet Flute - Level 2 - Digital Download SKU: A0.502698 Composed by Alexander Borodin. Arranged by Duda Oriontte. Classical,Opera,Romantic Period. Score. 1 pages. Duda Oriontte #115053. Published by Duda Oriontte (A0.502698). Prince Igor Theme (flute duet) Borodin A great arrangement to use in class You can play with your teacher or you studant (or vice versa) Good study I like this opera, polovtsian dances are amazing! Borodin was not a great composer, he was a scientist too!
$4.00
3.67 €
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2 Flûtes traversières (duo)
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Alexander Borodin
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Duda Oriontte
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Prince Igor Theme
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Duda Oriontte
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SheetMusicPlus
Prince Igor Theme (Viola duet) Borodin
2 Altos (duo)
Viola Duet Viola - Level 2 - Digital Download SKU: A0.505681 Composed by Alexander …
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Viola Duet Viola - Level 2 - Digital Download SKU: A0.505681 Composed by Alexander Borodin. Arranged by Duda Oriontte. Children,Opera,Romantic Period,Standards. Score. 1 pages. Duda Oriontte #117338. Published by Duda Oriontte (A0.505681). Prince Igor Theme (viola duet) Borodin A great arrangement to use in class You can play with your teacher or you studant (or vice versa) Good study I like this opera, polovtsian dances are amazing! Borodin was not a great composer, he was a scientist too!
$4.00
3.67 €
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2 Altos (duo)
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Alexander Borodin
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Duda Oriontte
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Prince Igor Theme
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Duda Oriontte
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SheetMusicPlus
The Crazy Scientist
Piano seul
Composed by Julie Ann Ballard. Sheet Music. FJH Performance Solos. Solo Sheet. 4 pages…
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Composed by Julie Ann Ballard. Sheet Music. FJH Performance Solos. Solo Sheet. 4 pages. The FJH Music Company - Digital #P2002. Published by The FJH Music Company - Digital
$2.95
2.71 €
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Piano seul
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Julie Ann Ballard
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The Crazy Scientist
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The FJH Music Company - Digital
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SheetMusicPlus
I Am A Scientist
Ukulele
Digital Download SKU: HX.362125 By The Dandy Warhols. Pop. Ukulele. 2 pages. Publis…
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Digital Download SKU: HX.362125 By The Dandy Warhols. Pop. Ukulele. 2 pages. Published by Hal Leonard Europe (HX.362125).
$1.99
1.83 €
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Ukulele
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The Dandy Warhols
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I Am A Scientist
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Hal Leonard Europe
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SheetMusicPlus
All Of Me
Violon, Alto (duo)
Instrumental Duet,Viola,Violin - Level 3 - Digital Download SKU: A0.1225592 By John…
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Instrumental Duet,Viola,Violin - Level 3 - Digital Download SKU: A0.1225592 By John Legend. By John Stephens and Toby Gad. Arranged by Sherry Lewis. Pop,Wedding. 10 pages. Sherry Lewis Publishing #821664. Published by Sherry Lewis Publishing (A0.1225592). THE SCIENTIST String Duo, Intermediate Level for violin and violaScore: YESParts: 4 pages Time:4'20MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit  https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.EXCELLENT for corporate events, weddings, social gatherings and recitals.APPROPRIATE for students and schools.CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$4.99
4.58 €
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Violon, Alto (duo)
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John Legend
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Sherry Lewis
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All Of Me
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Sherry Lewis Publishing
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SheetMusicPlus
#WeToo
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1262362 Composed by Sally …
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1262362 Composed by Sally Whitwell. 21st Century,Contemporary. Octavo. 17 pages. Sally Whitwell #855402. Published by Sally Whitwell (A0.1262362). On the morning of 2 March 2020, I finished writing the first draft of this song. It was the same morning that the New South Wales Rural Fire Service announced that for the first time since July 2019, the state was free of active bush and grass fires.At the time it felt quite euphoric. We’d been through a lot. Little did we know what was coming just a few days from then, when the Covid19 global pandemic reached our shores. It’s a virus that would kill millions across the world, and disable millions more, long term. It forced us, globally, into a kind of reckoning the like of which we had never experienced before. Non pharmaceutical controls like lockdowns, mask mandates, social distancing and ventilation standards were employed to keep us safe from this airborne virus, whilst scientists worked round clock to develop vaccines and treatments.Technically, the declaration of a pandemic is still active, but governments and people have somehow decided for themselves that it is all over. No one takes any precautions any more. Governments have stopped reporting statistics. People who know they are infected are going about their business with no thought for others. Meanwhile, many of the immune-compromised, the disabled, the vulnerable, are unable to safely leave their homes and engage in activities out in the world. I know this, because I am a carer for a vulnerable person.What this whole exercise has taught me is that people in the world are actually much less kind than I thought they were. Humans do not really care for each other. People attack me for wearing a mask, tell me that I’m virtue signalling and that I look ridiculous (as if I care how I look). I’ve asked questions about workplace Covid safety and been informed that it’s “a bit rich†that I’m asking at all, when everything is now safe. A friend’s diagnosed Long Covid symptoms were cruelly minimised or completely dismissed “Oh, it’s not Covid. How old are you? In your forties? It’s your hormones, it’s the menopause.†The fatal combination of sheer selfishness, rampant misinformation and DISinformation continues, whilst people waltz around spreading a deadly virus with no thought for the grief that will undoubtedly ensue.It boils down to this: if we want to continue as a species and to have a planet on which to reside, we have to stop with the Self Care and start with the Community Care. A choir is the perfect instrument for expressing these notions, through the unique power of the massed first person plural. My wish for this piece is that it spurs performer and listener alike into some kind of action. Please consider the effect your actions have on others, and on the planet, and make any changes necessary, however inconvenient or difficult they are. Otherwise, there’s really no point.Sally Whitwell 11 July 2023.
$1.99
1.83 €
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Chorale SATB
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Sally Whitwell
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#WeToo
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Sally Whitwell
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SheetMusicPlus
Sacrum Creaturae
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Digital Download SKU: A0.980596 Composed by William…
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String Quartet String Quartet - Digital Download SKU: A0.980596 Composed by William Grosvenor Neil. Contemporary. Score and parts. 81 pages. TheComposerStudio.Com, LLC #6565287. Published by TheComposerStudio.Com, LLC (A0.980596). Sacrum Creaturae (2019) (score and parts) for string quartet and digital acoustic commissioned and premiered August 18th, 2021 at the Stringwood Chamber Music Festival by the Artaria String Quartet, profiles three endangered creatures: wolves, dolphins, and birds in the three movements of this string quartet. Each of the digital acoustics, the recorded and processed sounds of wolves, dolphins, and birds, explore the sounds of these creatures from three perspectives. Canis Lupus-Nocturne developed through the exploration of wolf howls, growls, snarls, barks, and choruses. My goal in integrating the sounds of wolves with the string quartet was to make them equally passionate and expressive driving the dynamic and emotional climaxes of the music with equal intensity. Programatically, I have placed the wolves deep in the forest, in an environment that allows the string quartet to evoke the mystery and primal energy associated with these animals. I make musical references to the controversy of re-introducing these animals in the wild and the history of violent annihilation by hunters. Delphinus-Cradlesong comprises the slow, middle movement of this piece. The cradlesong is literal and is inspired by the recent discovery by marine scientists that a mother dolphin will sing to its unborn calf so that it bonds with the mother and is familiar with her voice after birth. I have essentially orchestrated my Cradlesong for solo piano for string quartet and the whistling sounds of a mother dolphin singing to its calf. The final movement, 21 Birds, incorporates the bird calls of 21 birds in the Driftless region of the upper Mississippi, integrated with the thematic music of the string quartet. I treat the birds as 21 soloists and as an orchestra of birds accompanying the quartet. In the performance with the quartet, I have employed various special effects, such as reverberation, echo, and delay to blend the two acoustics. Parts rental for performance including the digital acoustic files and support http://www.thecomposerstudio.com/chamber-music/#tab-13006 Inquires at: thecomposerstudio@gmail.com.
$30.00
27.55 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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William Grosvenor Neil
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Sacrum Creaturae
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TheComposerStudio.Com, LLC
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SheetMusicPlus
An Orange for Soprano/Tenor and Piano
Piano, Voix
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.942058 Composed by Apostolos…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.942058 Composed by Apostolos Paraskevas. 20th Century,Jazz,Opera,World. Score. 10 pages. Silver Sickle Publications #4729017. Published by Silver Sickle Publications (A0.942058). This witty and extremely fun work to perform by composer Apostolos Paraskevas was conceived after real events. There is a version for Soprano/tenor and Piano and one for guitar as well. Easy to perform and the text was inspired of the following narrative. I Slaughtered an Orange over the Sink... ...and it just sat there…It didn't say a word, not a sound of anguish, not even when my teeth started to tear apart it's flesh little by little... I knew it was a special orange but I couldn't fathom the magnitude of its character…Even when gentle I took it away from its friends there at the top of the kitchen counter, it looked at me almost with a sense of gratitude. Yes, gratitude.! As if it was saying: Thank you! Thank you for helping me to fulfill the purpose of my life…Since I was a little seed I knew I would serve a higher purpose. My sacrifice will help a human to become a healthier mother, doctor, composer, a better scientist. Yes, I think I felt it said…a better composer as well. ...and there I was, sinking my teeth deep inside its flesh and taking all of what it had to offer. It's life, it's substance, it's gratitude for serving a higher purpose. I slaughtered it over the sink, to avoid any evidence of what had happen there. The remaining outer sell, I placed it on the stove top and lighted up with fire, as my mother use to do, to release the heavenly smell and there it was. Evaporated everywhere! I inhale it, It became totally a part of me. Today, I slaughtered an orange over the sink and I didn’t say thank you! Apostolos Paraskevas is a classical guitarist and composer as well as an award-winning film director and producer. He has received multiple international awards for his compositions and was nominated for a Grammy Award. He is the only guitarist ever to have a major orchestral piece performed at Carnegie Hall under the direction of Lukas Foss––and the only musician who has performed there in a Grim Reaper outfit. He was the founder and served for 16 years as the artistic director of the International Guitar Congress-Festival of Corfu, Greece. He is a voting member of the Recording Academy (Grammys). After his undergraduate music studies in Volos he pursued advanced studies in classical guitar with Costas Cotsiolis (diploma, 1990) and Leo Brouwer (Havana 1984, 1988), as well as postgraduate studies in composition with Lukas Foss and Theodore Antoniou (DMA in composition, Boston University, 1998). Paraskevas embarked on a successful career as a guitar soloist and contemporary composer, achieving distinctions in both disciplines: Grammy nomination for Chase Dance (Bridge Records, 1999); first prize for Night Wanderings (Lukas Foss Composition Competition, 2000); first prize for Phygein Adynaton (National Composers Conference, 1997); and numerous prestigious commissions, performances, and publications. Following teaching posts at Northeastern and Boston Universities, Paraskevas has taught since 2001 at the Berklee College of Music in Boston (professor of composition and classical guitar). His eclectic compositional style arises as an idiosyncratic integration of seemingly conflicting influences – from avant-garde approaches to harmonic structure, form, and timbre, to pop-folk modal and rhythmical concepts – amalgamated into a personal evocative musical language, characterized by rhythmic verve, melodic grace, dramatic (and sometimes unexpectedly humorous) gestures, and ritualistic or theatrical elements. The latter feature has also led Paraskevas to the creation of films, notably the acclaimed I Finally Did It (Gold award, California Film Awards 2010), dealing wittily with Death, a recurring extra-musical theme in his music. The Groves Dictionary of Music Costas.
$8.99
8.26 €
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Piano, Voix
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Apostolos Paraskevas
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An Orange for Soprano/Tenor and Piano
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Silver Sickle Publications
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SheetMusicPlus
Symphony No. 5 ... Utopia Parkway (2003) full score
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869677 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869677 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. Score and parts. 147 pages. Thomas Oboe Lee #5968133. Published by Thomas Oboe Lee (A0.869677). Conceptually it all began a year ago when I came upon a book edited by Jonathan Safran Foer, A Convergence of Birds: Original Fiction and Poetry Inspired by the Work of Joseph Cornell. It is a beautiful book for the mind and the eyes: imaginative short stories and poetry alongside magnificently rendered color-plate reproductions of several Joseph Cornell box constructions. The book led me to a biography by Deborah Solomon, Utopia Parkway, and the germ of a symphonic work for Joseph Cornell was born.Symphony No. 5 ... Utopia Parkway is in five movements.I. Allegro marcato 3708 Utopia Parkway, Flushing, NYII. Lento The Enchanted Wanderer ... for Hedy LaMarr, 1941III. Avian scherzo Habitat Group for a Shooting Gallery, 1943IV. Allegro ... à la Can-can A Pantry Ballet ... for Jacques Offenbach, 1942 V. Moderato Apotheosis: Mary Baker Eddy, Christian ScientistJoseph Cornell lived most of his life with his mother and brother Robert at 3807 Utopia Parkway, Flushing, NY. The first movement, Allegro marcato, is a musical rendition of Joseph’s daily commute into Manhattan where he frequently visited dime stores, junk shops, used book stores, the New City Public Library, art galleries, movie houses and restaurants like Bickford’s and Schraft’s.The Enchanted Wanderer is a collage work on paper by Joseph Cornell – a tribute to Hedy Lamarr. Hollywood fascinated Cornell. He made several box constructions as tributes to movie stars like Lauren Bacall, Jennifer Jones, Greta Garbo, Audrey Hepburn, etc.Avian scherzo. Many of Cornell’s boxes featured cutout pictures of parakeets, parrots and cockatoos. Habitat Group for a Shooting Gallery is an especially evocative box of his aviary series. There are four birds in it, amidst other odds and ends. A number is attached to each one. There is a crack in the glass encasement – as if hit by a bullet. Blood splatters from the head of one of the birds. . In between the shooting gallery music, there is a Trio: a requiem for the dead cockatoo.Allegro ... à la Can-can. Cornell attended the ballet fervently. He made many box constructions inspired by ballet dancers: Fanny Cerrito, Marie Taglioni, Tamara Toumanova, Zizi Jeanmaire, Allegra Kent, etc. A Pantry Ballet for Jacques Offenbach is a very funny box with five red plastic lobsters in tutus. I provided a polka as background music. This movement is dedicated to Allegra Kent – a friend and confidante of Cornell.Joseph Cornell was an active member of the Christian Science Church for all of his adult life. He attended services regularly, and taught Sunday-school classes. For a while he even worked as an attendant in a Christian Science Reading Room in Great Neck, NY. In the Christian Science Hymnal I found several hymns written by the founder, Mary Baker Eddy, set to music by a number of different composers. I wrote a new tune to her hymn, Shepherd, show me how to go. The last movement, Apotheosis, is a theme and variations on this tune. It begins like a singing congregation, and it ends with the opening of Heaven’s doors – for Joseph, of course.Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-5-utopia-parkway-2003
$9.99
9.17 €
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Orchestre
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Thomas Oboe Lee
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Symphony No. 5 ... Utopia Parkway
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Thomas Oboe Lee
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SheetMusicPlus
I Come From Water/Parts
Large Ensemble Bassoon,Cello,Clarinet,Flute,Low Voice,Medium Voice,Violin - Level 5 - Digi…
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Large Ensemble Bassoon,Cello,Clarinet,Flute,Low Voice,Medium Voice,Violin - Level 5 - Digital Download SKU: A0.1023434 Composed by Theresa Koon. 20th Century,Contemporary. Score and parts. 14 pages. Theresa Koon #5722325. Published by Theresa Koon (A0.1023434). I Come from Water is a chamber work for Mezzo-soprano, Baritone, Alto Flute, Clarinet, Bassoon, Violin, Cello and, briefly, Bass Drum. The piece was inspired by news that the US may be planning to perform missile tests in the Pacific Ocean in the vicinity of the Hawaiian island of Kauai. Scientific research is leading to speculation that these tests could be harmful to water creatures over a large area surrounding the testing sites. In particular, scientists are concerned that the tests may cause animals who orient themselves via sound waves, such as dolphins and whales, to become permanently deaf. The music is intended to evoke impressions of a life in water, beginning with non-verbal communication between fish in streams. Images, sensations and sounds of water are expressed throughout the piece as salmon make their way from streams to rivers to the ocean. Eventually, we hear a sense of quiet communion in the ocean, which is interrupted by three explosions. The water creatures respond with panic, followed by silence. The final measures are intended to express grieving.
$14.99
13.76 €
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Theresa Koon
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I Come From Water/Parts
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Theresa Koon
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SheetMusicPlus
I Come From Water--Piano/Vocal Score
Large Ensemble Bassoon,Cello,Clarinet,Flute,Low Voice,Medium Voice,Violin - Level 5 - Digi…
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Large Ensemble Bassoon,Cello,Clarinet,Flute,Low Voice,Medium Voice,Violin - Level 5 - Digital Download SKU: A0.1023432 Composed by Theresa Koon. 20th Century,Contemporary. Score and parts. 14 pages. Theresa Koon #5722277. Published by Theresa Koon (A0.1023432). I Come from Water is a chamber work for Mezzo-soprano, Baritone, Alto Flute, Clarinet, Bassoon, Violin, Cello and, briefly, Bass Drum. The piece was inspired by news that the US may be planning to perform missile tests in the Pacific Ocean in the vicinity of the Hawaiian island of Kauai. Scientific research is leading to speculation that these tests could be harmful to water creatures over a large area surrounding the testing sites. In particular, scientists are concerned that the tests may cause animals who orient themselves via sound waves, such as dolphins and whales, to become permanently deaf.The music is intended to evoke impressions of a life in water, beginning with non-verbal communication between fish in streams. Images, sensations and sounds of water are expressed throughout the piece as salmon make their way from streams to rivers to the ocean. Eventually, we hear a sense of quiet communion in the ocean, which is interrupted by three explosions. The water creatures respond with panic, followed by silence. The final measures are intended to express grieving.
$4.99
4.58 €
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Theresa Koon
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I Come From Water--Piano/Vocal Score
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Theresa Koon
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SheetMusicPlus
The Scientist by The Theorist - Piano Solo
Piano seul
Sheet Music for The Scientist by The Theorist arranged for Instrumental Solo;Piano/Chords …
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Sheet Music for The Scientist by The Theorist arranged for Instrumental Solo;Piano/Chords in F Major. Digital sheet music from Musicnotes. --
$9.99
9.17 €
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Piano seul
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Piano Solo
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Musicnotes
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