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Them Basses for Brass Band
Partitions à imprimer
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Them Basses for Brass Band
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1303705 Composed by G. H. Huffine. Arranged by Graham Boag. 20th Century,Contest,Festival,Historic,March. Brass Band. 45 pages. Graham Boag #893261. Published by Graham Boag (A0.1303705). I discovered this March for Wind Band when looking for something else (always the best finds). I thought it would work very well for British Style Brass Band and unlike other marches the bottom end of the Band have the melodic interest throughout. Here is G. H. Huffine's March 'Them Basses' arranged for Brass Band.
$29.99
27.54 €
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G
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Graham Boag
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Them Basses for Brass Band
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Graham Boag
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SheetMusicPlus
Elegy Sentimentale for Concert Band
Orchestre d'harmonie
Concert Band - Digital Download SKU: A0.746749 Composed by Keith Terrett. Contempor…
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Concert Band - Digital Download SKU: A0.746749 Composed by Keith Terrett. Contemporary,World. 39 pages. Keith Terrett #3129275. Published by Keith Terrett (A0.746749). Here at last is my ’’Elegy sentimentale’’ for Concert Band, and an original composition.I hope it makes an excellent piece for amateur and professional bands alike; with some challenging and interesting woodwind and brass writing for all.I envisage the ’’Elegy’’ eventually making a good piece of film music, and in consequence any directors or producers looking for a movie theme; please feel free to contact me!Elegy Sentimenatle is a mournful & melancholic work, suited for performances on the concert platform.A Supreme Work of Art!The Elegy Sentimentale opens impressively. Keith Terrett plants a C deep in virgin soil; orchestrated brilliantly for bassoon, harp and delineated by pizzicato double basses this bass line is a tree of a forest; and we are at once held by the strength of the roots. The tonality is immediately clear, and there is a grand feeling of space and power in the wide layout of the score. A lone solo clarinet high in the tessitura accompanied by a solo cello with a counter subject state the opening eight bar theme which embodies the seeds of two ideas, which supplies the generating force for the slightly agitated Piu Mosso which follows. The counter subject given by the solo cello at the beginning is now reiterated by the plaintive voice of a solo oboe and a third motif makes an appearance in the solo clarinet; oboe and clarinet duet beautifully over arpeggiated rhythmic impulses in the harp. A new subject of an accompanying nature, derived from all the material thus far presented now comes off at a tangent on the strings cascading downwards and accompanying woodwind who, play the chief melodic subject while horns cry in anguish. This first section is then repeated; I found the whole experience spiritual, detached and wondering, intensified by the breath-taking stillness. Mr Terrett in the middle section that follows now uses his full orchestral forces; after a key change the emotional charge that follows is cataclysmic in its cry of anguish; the main theme is stated in a full dress orchestral tutti, which is then repeated. The music ebbs and flows with slight variations in the woodwind recalling the main ideas; at the very end high strings bring consolation and finally peace. Keith Terrett shows an admirable command of orchestration and melodic construction and combines these qualities with rare imagination and insight.Gerald Manning
$30.00
27.55 €
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Orchestre d'harmonie
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Keith Terrett
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Elegy Sentimentale for Concert Band
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Keith Terrett
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SheetMusicPlus
Jazz Minuet in G Major (for British Style Brass Band)
Ensemble de cuivres
Brass Ensemble - Level 4 - Digital Download SKU: A0.1026133 Composed by Christian P…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.1026133 Composed by Christian Petzold (1677-1733). Arranged by Richard Jones. Baroque,Contemporary,Jazz. Score and parts. 52 pages. Richard Jones #5968417. Published by Richard Jones (A0.1026133). Until the 1970s the Minuet in G Major was attributed to the great Johann Sebastian Bach. For centuries musicologists believed it was an original composition as it was a part of the manuscript notebook compiled by Bach and his wife Anna Magdalena Bach, in 1725.Petzold was born in Konigstein, Germany, in 1677 and little is known about his exact birth date. Relatively few pieces ofhis have survived the centuries, but the inclusion of his two minuets in the Anna Magdalena Notebook, remain the most famous of these.The theme to the Minuet in G was used in 1966 by the American pop group The Toys, in their song 'A Lover's Concerto'.In this arrangement I have syncopated the theme and accompanying parts to create a jazz feel. From letter A the theme appears in the cornet and euphonium lines and then at letter B the theme is transferred to the horn section. Whilst the theme is in the horn section there is a counter riff in the baritones and trombones, and a simple jazz syncopation in the cornets. At C the key changes to the sub-dominant key of C and the back row cornets get the tune in a simple but syncopated form whilst a flowing counter melody continues in the lower instruments. Then at D the euphoniums, baritones and basses have their chance and the syncopation appears in the horns and interjections in the cornets. After the D.S the the piece goes to the Coda, which hasthe tune split between each of the sections of the band with a fortissimo climax.
$19.99
18.36 €
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Ensemble de cuivres
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Christian Petzold
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Richard Jones
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Jazz Minuet in G Major
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Richard Jones
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SheetMusicPlus
Hawaii Five-O Theme
Ensemble de cuivres
Brass Ensemble - Level 4 - Digital Download SKU: A0.760925 By The Ventures. By Mort…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.760925 By The Ventures. By Mort Stevens. Arranged by Stephen Rockey. Rock. Score and parts. 41 pages. Stephen Rockey #3098267. Published by Stephen Rockey (A0.760925). Theme from Hawaii-Five-O for standard British Brass Band.This is a Rock version that would make a great opener for any concert, 2nd half opener, or even an encore. Most bands should be able to cope with this arrangement, regardless of standard. Now with Bass Clef parts for Baritone, Trombone, Euphonium and Basses.
$30.00
27.55 €
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Ensemble de cuivres
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The Ventures
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Stephen Rockey
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Hawaii Five-O Theme
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Stephen Rockey
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SheetMusicPlus
Fanfare and Ode To Joy for Brass Band Bass Quartet
Brass Ensemble Tuba - Level 4 - Digital Download SKU: A0.761311 Composed by Ludvig …
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Brass Ensemble Tuba - Level 4 - Digital Download SKU: A0.761311 Composed by Ludvig van Beethoven/Stephen Rockey. Arranged by Stephen Rockey. Romantic Period,World. Score and parts. 12 pages. Stephen Rockey #6026771. Published by Stephen Rockey (A0.761311). Fanfare and Ode To Joy by Beethoven, EU anthem arranged for brass band bass quartet; 2 x EE flat basses and 2 x BB flat basses, all treble clef.
$4.00
3.67 €
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Ludvig van Beethoven/Stephen Rockey
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Stephen Rockey
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Fanfare and Ode To Joy for Brass Band Bass Quartet
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Stephen Rockey
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SheetMusicPlus
Ode to Joy (Europe Anthem) - Flexible instrumentation
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.823515 Composed by Ludwig van B…
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Full Orchestra - Level 3 - Digital Download SKU: A0.823515 Composed by Ludwig van Beethoven. Arranged by Damiano Drei. Classical,Multicultural,Patriotic,Romantic Period,Standards,World. Score and parts. 44 pages. Damiano Drei #3382707. Published by Damiano Drei (A0.823515). This arrangement is made for a generic music school orchestra, so the instrumentation is made flexible to suits many different formation. The winds and brass parts are quite the same, so you can freely remove or double some of them. This arrangement is totally playable without the strings session, but not viceversa. If you have others percussions in your band, feel free to add them, al following the same part. Basses part are playable by double bass, electric bass or/and tuba. The arrangement sounds very good also if you have a jazz band and all the classic instruments are missing: brasses and saxes can sustain all the piece.
$19.99
18.36 €
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Orchestre
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Ludwig van Beethoven
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Damiano Drei
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Ode to Joy
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Damiano Drei
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SheetMusicPlus
Funeral March of a Marionette (Brass band)
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.767033 Composed by Charles Francois Gounod. Arranged by Mike Lyons. Contemporary,Film/TV,Romantic Period. Brass Band. 62 pages. Lyons Music Services #48245. Published by Lyons Music Services (A0.767033). Originally a character piece for piano by Gounod, this piece achieved its greatest fame as the theme tune for Alfred Hitchcock Presents on British Television. It became Alfred HItchcock's own leitmotif due to the popularity of the programme and also to its mixture of comedy and grotesquerie. This arrangement is for British Brass Band and should be playable by most standards of band. The basses, of course, have a prominent role to play. Alternative parts are available (eg bass clef trombone/euph/tuba) free of charge upon request.
$25.00
22.96 €
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Charles Francois Gounod
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Mike Lyons
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Funeral March of a Marionette
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Lyons Music Services
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SheetMusicPlus
Brass Band - Fugue for Mr Jeremy Fisher
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.767265 Composed by Mike Lyons. Arranged by Lyons Music Services. Contemporary. Brass Band. 50 pages. Lyons Music Services #3138369. Published by Lyons Music Services (A0.767265). An original character piece based on The Tale of Mr Jeremy Fisher from the Beatrix Potter story of the same title. Jeremy Fisher is a frog who lives in a slippy-sloppy house at the edge of a pond. One rainy day he collects worms for fishing, and sets off across the pond on his lily-pad boat. He plans to invite his friends for dinner if he catches more than five minnows. He encounters all sorts of setbacks to his goal, and escapes a large trout who tries to swallow him. He swims for shore, decides he will not go fishing again, and hops home. The music follows his encounter with the trout. Jeremy is represented by the lugubrious fugue theme in the basses, the river by the descending scale pattern and the trout by the descending triplet figures. Every part of the band gets to play something interesting and the music needs to be lively.
$25.00
22.96 €
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Mike Lyons
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Lyons Music Services
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Brass Band - Fugue for Mr Jeremy Fisher
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Lyons Music Services
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SheetMusicPlus
Old Ned (Theme From Steptoe And Son)
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1416725 By Ron Grainer. By Ron Grainer. Arranged by Stephen Hague. Comedy,Film/TV. Brass Band. 44 pages. Stephen Hague #998388. Published by Stephen Hague (A0.1416725). Full Brass Band Arrangement.A fun arrangement for all your Eb and Bb Basses section.You could also use a panto horse as a stage prop!
$24.99
22.95 €
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Ron Grainer
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Stephen Hague
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Old Ned
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Stephen Hague
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SheetMusicPlus
Largo from the New World Symphony for String Orchestra
Orchestre à Cordes
String Orchestra - Level 3 - Digital Download SKU: A0.1431642 By Keith Terrett. By …
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String Orchestra - Level 3 - Digital Download SKU: A0.1431642 By Keith Terrett. By Antonin Dvorak. Arranged by Keith Terrett. Classical,Contest,Festival,Historic,Instructional,Romantic Period. 9 pages. Keith Terrett #1012118. Published by Keith Terrett (A0.1431642). Transcribed for String Orchestra the second movement of the New World Symphony is introduced by a harmonic progression of chords in the wind instruments. Beckerman interprets these chords as a musical rendition of the narrative formula Once upon a time. Then a solo cor anglais (English horn) plays the famous main theme in D-flat major accompanied by muted strings. Dvořák was said to have changed the theme from clarinet to cor anglais as it reminded him of the voice of Harry Burleigh. The movement's middle section contains a passage in C♯ minor evoking a nostalgic and desolate mood which eventually leads into a funeral march above pizzicato steps in the basses. It is followed by a quasi-scherzo that incorporates this movement's theme as well as the first movement's main and closing themes. The Largo is concluded with the soft return of the main theme and introductory chords.For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: https://www.scoreexchange.com/profiles/keithterrett1 http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.
$8.00
7.35 €
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Orchestre à Cordes
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Keith Terrett
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Keith Terrett
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Largo from the New World Symphony for String Orchestra
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Keith Terrett
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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
Who Do You Think You Are Kidding Mr. Hit
Ensemble de cuivres
Brass Ensemble - Level 3 - Digital Download SKU: A0.751010 By Jimmy Perry. By Jimmy…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.751010 By Jimmy Perry. By Jimmy Perry. Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 66 pages. BJE Music #6131977. Published by BJE Music (A0.751010). Who Do You Think You Are Kidding Mr. Hitler was the Dad's Army theme song, and appeared at the start of every episode. It was written by Jimmy Perry and Derek Taverner and performed by Bud Flanagan. This bright arrangement is for a Brass Band or Ensemble with an optional part for String Bass in 2/4 time. Percussion parts include Woodblock and Drum Set. There are parts for both Horns in Eb and F, Trombones 1-2 TC and BC, Euphonium TC or BC, Basses in Eb, Bb, and C.
$45.00
41.32 €
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Ensemble de cuivres
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Jimmy Perry
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Brendan Elliget MAGA 537
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Who Do You Think You Are Kidding Mr. Hit
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BJE Music
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SheetMusicPlus
I Am Australian
Ensemble de cuivres
Brass Ensemble - Level 3 - Digital Download SKU: A0.751009 Composed by Bruce Woodle…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.751009 Composed by Bruce Woodley and Dobe Newton. Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 39 pages. BJE Music #6120841. Published by BJE Music (A0.751009). I Am Australian (or We Are Australian) is a popular Australian song written in 1987 by Bruce Woodley of The Seekers and Dobe Newton of The Bushwackers. Its lyrics are filled with many historic and cultural references, such as to the digger, Albert Namatjira, and Ned Kelly, among others. Its popularity has allowed it to join the ranks of other patriotic songs considered as alternatives to the Australian national anthem, Advance Australia Fair. This arrangement is for a Brass Band or Ensemble with an optional part for String Bass. Percussion parts include Claves, Glockenspiel, Drum Set, and Timpani. There are parts for both Horns in Eb and F, Trombones 1-2 TC and BC, Euphonium TC or BC, Basses in Eb, Bb, and C… Grade = 3 Duration = 4:25 mins. The MP3 recording was recorded with NotePerformer 3.
$45.00
41.32 €
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Ensemble de cuivres
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Bruce Woodley and Dobe Newton
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Brendan Elliget MAGA 537
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I Am Australian
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BJE Music
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SheetMusicPlus
The Marines' Hymn: Apotheosis
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 2 - Digital Download SKU: A0.1241960 Composed by Sammy Nestico. Arranged by Adrian Horn. 20th Century. Brass Band. 35 pages. AJH Brass #837317. Published by AJH Brass (A0.1241960). The Marines’ Hymn is the official hymn of the United States Marine Corps and the oldest official song in the US Armed Forces, authorised for use by the Commandant of the Marine Corps in 1929. The lyrics for the hymn were written by an anonymous author prior to this and includes lines referencing famous battles such as “To the shores of Tripoli†referring to the First Barbary War and “The Halls of Montezuma†referencing the Battle of Chapultepec. The music, however, originates from the “Gendarmes’ Duet†from Offenbach's 1859 opera Genevieve de Brabant. Sammy Nestico, whilst best known as a composer, arranger, and conductor for the Count Basie Orchestra and as a prolific composer of television themes including shows such as M*A*S*H*, and Charlie’s Angels, was also the director of the U.S. Marine Band under both John F. Kennedy and Lyndon B. Johnson. In 1968, Nestico took the original version of the hymn and revamped it in his own inimitable style giving us Apotheosis - Marines' Hymn. I give it my heart… a Marine's heart – Sammy Nestico. Instrumentation - British Brass Band,  Full Score,  Soprano Cornet, Solo Cornets, Repiano Cornet, 2nd Cornets, 3rd Cornets,  Flugel Horn, Solo Tenor Horn, 1st Tenor Horn, 2nd Tenor Horn,  1st Baritone, 2nd Baritone,  1st Trombone, 2nd Trombone, Bass Trombone,  Euphoniums,  Eb Basses, BBb Basses,  Timpani, Tubular Bells.
$24.99
22.95 €
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Sammy Nestico
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Adrian Horn
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The Marines' Hymn: Apotheosis
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AJH Brass
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SheetMusicPlus
No Time To Die
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1210700 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Adrian Horn. Film/TV,Pop. Brass Band. 43 pages. AJH Brass #808448. Published by AJH Brass (A0.1210700). For Soprano Cornet or Tenor Horn and Brass Band.‘No Time To Die’ (2021) is the twenty-fifth in the James Bond series of motion pictures. Starring Daniel Craig in his final outing as Bond, the film’s theme the song of the same name was written and performed by American singer-songwriter Billie Eilish. This arrangement features the soprano cornet or tenor horn as soloist and reflects on both the simplicity and intensity of the original performance’s vocals. The PDF includes: Full Score,Eb Soloist (Soprano Cornet or Tenor Horn), Soprano Cornet (opt.), Solo Cornets, Repiano Cornet, 2nd Cornets, 3rd Cornets,  Flugel Horn, Solo Horn (opt.), 1st Tenor Horn, 2nd Tenor Horn,  1st Baritone, 2nd Baritone,  1st Trombone, 2nd Trombone, Bass Trombone,  Euphoniums,  Eb Basses, BBb Basses,  Timpani, Drum Kit, Vibraphone / Tam Tam,.
$24.99
22.95 €
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Billie Eilish
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Adrian Horn
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No Time To Die
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AJH Brass
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SheetMusicPlus
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