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FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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GUITARE PED…
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MANDOLINE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
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SAXOPHONE
SYNTHETISEUR
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CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
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MEDIEVAL - RENAISSAN…
METAL - HARD
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METHODE : ETUDES
METHODE : TECHNIQUES
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OPERA
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Non classifié
1031
PIANO & CLAVIERS
Piano, Voix
257
Piano seul
254
Piano, Voix et Guitare
60
Piano grosses notes
43
Orgue
41
Piano Facile
29
Instruments en Do
13
Accompagnement Piano
6
1 Piano, 4 mains
5
Piano (partie séparée)
4
2 Pianos, 4 mains
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Clavier
2
2 Pianos, 8 mains
1
Piano Trio: piano, violon, violoncelle
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Instrumentations suivantes
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GUITARES
Guitare
38
Guitare notes et tablatures
18
Guitare (partie séparée)
8
Ligne De Mélodie, (Paroles) et Accords
6
Mandoline
2
Ukulele
2
Basse electrique
1
Ensemble de guitares
1
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VOIX
Chorale SATB
141
Chorale 3 parties
23
Chorale 2 parties
18
Chorale SSAA
18
Voix Soprano, Piano
16
Chorale TTBB
14
Chorale Unison
12
Voix Alto, Piano
6
Voix Tenor, Piano
4
Voix duo
3
Voix Soprano
1
Voix seule
1
Voix duo, Piano
1
Chorale SSATTB
1
Chorale SSAATTBB
1
Instrumentations suivantes
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VENTS
2 Saxophones (duo)
116
Quintette de Saxophone: 5 saxophones
94
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
88
Ensemble de saxophones
70
Saxophone, Clarinette (duo)
58
Flûte traversière et Piano
57
2 Clarinettes (duo)
56
Clarinette, Violon (duo)
43
2 Flûtes traversières (duo)
42
Clarinette et Piano
40
Clarinette, Trompette (duo)
40
Hautbois, Piano (duo)
38
2 Flûte à bec (duo)
34
Saxophone Alto et Piano
32
Ensemble de Clarinettes
28
Flûte, Hautbois, Clarinette, Basson
27
Saxophone Tenor et Piano
25
Saxophone (partie séparée)
23
2 Hautbois (duo)
23
Flûte, Saxophone (duo)
23
Saxophone Soprano et Piano
23
Flûte, Violon
22
Hautbois, Clarinette (duo)
22
Cor anglais, Piano
22
Hautbois, Basson (duo)
21
Saxophone Baryton, Piano
20
Flûte, Clarinette (duo)
20
Flûte, Alto (duo)
20
Hautbois, Flûte
20
Clarinette
20
Clarinette et Alto
19
Ensemble de Flûtes
19
Flûte, Trompette (duo)
18
Quintette de Flûte : 5 flûtes
15
Hautbois (partie séparée)
15
Flûte traversière
13
Clarinette Basse, Piano
12
Quatuor de Saxophones: 4 saxophones
11
Saxophone Alto
11
Saxophone Tenor
8
Clarinette (partie séparée)
6
Clarinette, Trombone (duo)
6
Quatuor de Flûtes : 4 flûtes
5
Trio de Flûtes: 3 flûtes
5
Quatuor de Clarinettes: 4 clarinettes
5
Hautbois
4
3 Clarinettes (trio)
4
Flûte, Hautbois (duo)
3
Flûte à bec Soprano, Piano
3
Flûte à bec Soprano
3
Hautbois, violon (duo)
3
3 Hautbois
2
Saxophone Baryton
2
Saxophone Soprano
2
Flute (partie séparée)
2
Quintette de Clarinettes: 5 clarinettes
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Piccolo, Piano
1
Clarinette, Harpe (duo)
1
3 Saxophones (trio)
1
Clarinette, Guitare (duo)
1
Ensemble à vent
1
Saxophone et Guitare
1
Flûte, Clarinette, Piano (trio)
1
Flûte à Bec
1
Flûte à bec Alto, Piano
1
Flûte, Violon, Piano
1
Saxophone et Orgue
1
Flûte irlandaise
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Instrumentations suivantes
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CUIVRES
Quatuor de Cuivres : 2 trompettes, trombone, tuba
82
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
80
Ensemble de Trompettes
49
Trompette, Saxophone (duo)
43
Trombone et Piano
30
2 Trompettes (duo)
30
2 Trombones (duo)
28
Trombone (partie séparée)
27
Ensemble de Trombones
27
Trompette
25
Quatuor de Cuivres: 2 trompettes, Cor, trombone
25
Cor et Piano
23
Trompette, Trombone (duo)
23
Euphonium, Piano (duo)
22
Cor anglais, Piano
22
Trompette (partie séparée)
21
Trompette, Piano
18
Trombone
15
Quatuor de Cuivres
14
Tuba et Piano
10
Cor
10
2 Euphoniums (duo)
8
Cor (partie séparée)
8
Ensemble de Cors
5
Tuba
5
3 Trombones (trio)
3
Quatuor de cuivres: 4 trompettes
3
Tuba (partie séparée)
3
Quatuor de cuivres: 4 trombones
2
Trio de Cuivres
2
Quatuor de cuivres: 4 cors
2
3 Euphoniums
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Bass Clef Instruments
1
3 Trompettes (trio)
1
Trompette, Euphonium (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
54
Violon et Piano
52
Violoncelle, Piano
38
Alto, Piano
33
Violon, Violoncelle (duo)
28
2 Violons (duo)
23
Violon, Alto (duo)
23
Harpe
23
2 Violoncelles (duo)
22
Quintette à cordes: 2 violons, alto, violoncelle, basse
21
2 Altos (duo)
21
Violon
20
Trio à Cordes: violon, alto, violoncelle
18
Violoncelle
17
Ensemble de Violons
14
Ensemble d'Altos
14
2 Harpes (duo)
8
Contrebasse (partie séparée)
8
Alto seul
8
Contrebasse, Piano (duo)
5
Trio à Cordes: 2 violons, violoncelle
5
Alto (partie séparée)
4
Violon (partie séparée)
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Trio à cordes: 3 altos
2
Trio à cordes: 3 violins
2
3 Contrebasses
2
4 Violoncelles
2
Ensemble de Violoncelles
2
Contre Basse
2
Trio à Cordes: 3 violoncelles
2
Harpe, Flûte (duo)
1
Quatuor à cordes : 4 altos
1
Quatuor à cordes: 4 violons
1
2 Violons, Piano
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
72
Orchestre
41
Orchestre à Cordes
24
Ensemble Jazz
21
Ensemble de cuivres
14
Orchestre de chambre
13
Jazz combo
10
Percussion (partie séparée)
6
Cloches
4
Batterie (partie séparée)
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Batterie
2
Piano et Orchestre
1
Ensemble d'École
1
Ensemble de Percussions
1
Vibraphone
1
Vibraphone et Marimba
1
Instrumentations suivantes
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AUTRES
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There's New Music
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There's New Music
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1029327 Composed by Bonnie…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1029327 Composed by Bonnie L. Moore. Christian,Praise & Worship,Sacred,Spiritual. Octavo. 3 pages. Bonnie Moore #4833241. Published by Bonnie Moore (A0.1029327). There's new music in the making, filled with God's own grace and truth! Here is the Word of God in melodic song filled with prophecy and encouragement, guaranteed to bless those who hear it and those who sing it!
$3.99
3.58 €
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Chorale SATB
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Bonnie L
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There's New Music
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Bonnie Moore
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SheetMusicPlus
Die Walkure
Piano, Voix
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q25919. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages(German, English, French).<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> <br> DIE WALKURE<br> <br> In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.<br> <br> The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.<br> <br> (Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)
$53.99
48.49 €
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Piano, Voix
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Richard Wagner (1813-1883)
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Die Walkure
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Schott Music - Digital
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SheetMusicPlus
Let Me Be There: String Bass
Contrebasse (partie séparée)
String Bass - Digital Download SKU: AX.00-PC-0001331_SB String Bass. Compose…
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String Bass - Digital Download SKU: AX.00-PC-0001331_SB String Bass. Composed by John Rostill. Arranged by Jay Althouse. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0001331_SB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001331_SB). UPC: 038081310367.This Olivia Newton-John hit from the ’70s translates perfectly as a gospel-edged pop piece for today’s choirs. There’s a little hint of Elvis, too. Well-crafted choral writing combines with rhythmic drive to make your group come alive. There’s a brief hand clapping a cappella section as the piece builds toward the big finish.
$4.00
3.59 €
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Contrebasse (partie séparée)
#
John Rostill
#
Jay Althouse
#
Let Me Be There: String Bass
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Let Me Be There: B-flat Tenor Saxophone
Saxophone (partie séparée)
B-flat Tenor Saxophone - Digital Download SKU: AX.00-PC-0001331_TX1 B-flat Tenor…
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B-flat Tenor Saxophone - Digital Download SKU: AX.00-PC-0001331_TX1 B-flat Tenor Saxophone. Composed by John Rostill. Arranged by Jay Althouse. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0001331_TX1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001331_TX1). UPC: 038081310367.This Olivia Newton-John hit from the ’70s translates perfectly as a gospel-edged pop piece for today’s choirs. There’s a little hint of Elvis, too. Well-crafted choral writing combines with rhythmic drive to make your group come alive. There’s a brief hand clapping a cappella section as the piece builds toward the big finish.
$4.00
3.59 €
#
Saxophone (partie séparée)
#
John Rostill
#
Jay Althouse
#
Let Me Be There: B-flat Tenor Saxophone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Let Me Be There: E-flat Alto Saxophone
Saxophone (partie séparée)
E-flat Alto Saxophone - Digital Download SKU: AX.00-PC-0001331_AX1 E-flat Alto S…
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E-flat Alto Saxophone - Digital Download SKU: AX.00-PC-0001331_AX1 E-flat Alto Saxophone. Composed by John Rostill. Arranged by Jay Althouse. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0001331_AX1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001331_AX1). UPC: 038081310367.This Olivia Newton-John hit from the ’70s translates perfectly as a gospel-edged pop piece for today’s choirs. There’s a little hint of Elvis, too. Well-crafted choral writing combines with rhythmic drive to make your group come alive. There’s a brief hand clapping a cappella section as the piece builds toward the big finish.
$4.00
3.59 €
#
Saxophone (partie séparée)
#
John Rostill
#
Jay Althouse
#
Let Me Be There: E-flat Alto Saxophone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Let Me Be There: 1st B-flat Trumpet
Trompette (partie séparée)
1st B-flat Trumpet - Digital Download SKU: AX.00-PC-0001331_T1 1st B-flat Trumpe…
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1st B-flat Trumpet - Digital Download SKU: AX.00-PC-0001331_T1 1st B-flat Trumpet. Composed by John Rostill. Arranged by Jay Althouse. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0001331_T1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001331_T1). UPC: 038081310367.This Olivia Newton-John hit from the ’70s translates perfectly as a gospel-edged pop piece for today’s choirs. There’s a little hint of Elvis, too. Well-crafted choral writing combines with rhythmic drive to make your group come alive. There’s a brief hand clapping a cappella section as the piece builds toward the big finish.
$4.00
3.59 €
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Trompette (partie séparée)
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John Rostill
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Jay Althouse
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Let Me Be There: 1st B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The Master Singers of Nuremberg
Piano, Voix
Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erst…
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Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 235\' 0. Schott Music - Digital #Q17852. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG “Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera’s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche’s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ‘magnificent, ornate and ponderous art’ and Wagner’s music in general as being ‘rough and coarse’. This music according to Nietzsche possesses ‘no trace of the fine southern clarity of the sky and nothing of grace’, but instead ‘a cumbersome garb, with a touch of licentious barbarism and solemnity’ and ‘even a certain degree of ungainliness’. Nietzsche’s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott’s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. […] When the saying ‘the music sets the tone’ is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.” (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).
$59.99
53.88 €
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Piano, Voix
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Richard Wagner
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The Master Singers of Nuremberg
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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
21.54 €
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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
Guitar Compendium
Guitare
Technique / improvisation / musicianship / theory. This edition: method. Instrumenta…
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Technique / improvisation / musicianship / theory. This edition: method. Instrumentalunterricht, Gitarre, Theorie. The Praxis System. Downloadable. Op. Vol. 1. Advance Music #Q54672. Published by Advance Music
English.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or
$23.99
21.54 €
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Guitare
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Guitar Compendium
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Advance Music
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SheetMusicPlus
Goin' Home - From the New World Op. 95
Harpe, Flûte (duo)
Instrumental Duet Flute,Harp,Instrumental Duet - Level 3 - Digital Download SKU: A0.502…
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Instrumental Duet Flute,Harp,Instrumental Duet - Level 3 - Digital Download SKU: A0.502638 Composed by Antonin Dvorak. Arranged by Arranged by Karen Almquist, Edited by Jennifer Grady. Classical,Romantic Period. Score and parts. 4 pages. HarpSong, Jennifer Grady and Karen Almquist #114989. Published by HarpSong, Jennifer Grady and Karen Almquist (A0.502638). “Goin Home†is a peaceful and moving flute and harp arrangement of Antonin Dvorak’s magnificent Symphony No. 9 “From the New World†2nd Movement. The arrangement in Eb begins and ends quietly in the lower register of the instruments. The flute introduces the melody over quiet eighth note arpeggios on the harp. The harp plays the melody in the second verse. “Goin Home†builds to a glorious ending with an uplifting harp glissando, full rolled chords and flute soaring in its high register. The music is full of emotion and hope. William Arms Fisher a student of Dvorak penned the moving lyrics “Goin Home†to the music. Goin' home. Goin' home. I'm a-goin' home. Quiet-like some still day, I'm just goin' home. It's not far, just close by, through an open door. Work all done, cares laid by, goin' to roam no more; Mother's there 'xpecting me, father's waiting, too, Lots of folks gathered there, all the friends I knew. Morning star lights the way, restless dream all done. Shadows gone, break of day, real life just begun. There's no break, there's no end, just a-living on; Wide awake, with a smile, going on and on. Going home. Going home, I'm just going home. It's not far, just close by, through an open door.
$4.99
4.48 €
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Harpe, Flûte (duo)
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Antonin Dvorak
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Goin' Home - From the New World Op. 95
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HarpSong, Jennifer Grady and Karen Almquist
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SheetMusicPlus
Tannhäuser und der Sängerkrieg auf Wartburg
Digital Download SKU: S9.Q25917 Vocal Score based on the Richard Wagner Complete…
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Digital Download SKU: S9.Q25917 Vocal Score based on the Richard Wagner Complete Edition edited by Wolfgang M. Wagner. Composed by Richard Wagner. This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q25917. Published by Schott Music - Digital (S9.Q25917). German • French.An important addition to Schott's newly published orchestral material is the first publication of piano scores for the ten major operas by Richard Wagner in all major versions. For the first time, we offer the stages and interested opera lovers piano scores as urtext editions that were designed according to uniform editorial criteria.•The score is aligned with the performance material of the Complete Edition. •All piano scores have study numbers and continuous measure numbers for rehearsal and study practice. •The editors are renowned musicologists from the circles of those working on the Richard Wagner Complete Edition who contribute detailed information on the respective editions to the critical prefaces.•The prefaces are printed in three languages (German, English, French). •The uniform appealing cover design with reproductions of paintings from the Wagner era emphasizes the serial character of the edition.TANNHÄUSERFor the Richard Wagner Complete Edition, the editors Egon Voss, Peter Jost and Reinhard Strohm as well as Cristina UrchueguÃa have researched and presented Tannhäuser's genesis and history of more than thirty years, which also took about thirty years of scientific work, on 2,959 pages in eight volumes. With the present piano score, the findings gathered therein shall now also to be made accessible for the musical practice. (Wolfgang M. Wagner, quoted from the foreword to the new Tannhäuser piano score)The piano score unites for the first time all four stages of the work (the score as of 1845, the score as of 1860, the Paris version as of 1861/62 with the complete French text of this version, and the Vienna version as of 1875) in a single excerpt for rehearsal and study practice, thus allowing the comparison of the versions, without sacrificing practicability.All variants are printed one after the other in the chronological sequence of the action on the stage, so that each of them can be explored in their context of action by simply turning over the pages. Only two variants rejected before the Paris premiere were printed separately in the appendix. A fascinating insight into Richard Wagner's thinking in terms of stage practice and into his very precise ideas of tonal balance, scenic details and role-conception are made possible by the quotations printed in key passages from his work On the Performance of Tannhäuser, published in 1852.For example, soon after the world premiere, Wagner suggested the deletion of bars in the orchestral part in the 4th scene of Act I, reasoning that […] due to the tremendous woodenness and self-consciousness of our usual supernumeraries, the impression of overwhelming liveliness, which was intended by me and which was to imply a heightening of the mood led up to by the liveliest manifestations of life, was not achieved. (piano reduction, p. 221)In the big ensemble scene at the end of Act II, Wagner puts in a comment at a certain passage, referring to the conductor and his great responsibility for tonal balance:The exclamations 'Ach, erbarm' dich mein!' require such a piercing emphasis that he [the performer of Tannhauser] as a mere, well-trained singer is not enough; it is but the highest dramatic art that has to provide him the energy of pain and desperation for an expression that must seem to break forth from the most gruesome depths of an awfully woeful heart, like a cry for salvation. The conductor has to ensure that the implied success is made possible for the principal singer by the most discrete accompaniment of the other singers as well as of the orchestra. (piano reduction, p. 367)3 (3. auch Picc.) · 2 · 2 · Bassklar. [nicht in Pariser F.] · 2 - 2 Ventilhr. · 2 Waldhr. · 3 Ventiltrp. · 3 · 1 [Pariser F.: Ophicléïde] - P. S. (Trgl. · Beck. · Tamb. · gr. Tr. · Tamt. [Pariser F.] · Kast. [Pariser/Wiener F.) (2-3 Spieler) - Str. Auf dem Theater: 2 Picc. [P/W: 1] · 4 Fl. [P/W: 2] · 4 Ob. [P/W: 2] · Engl. Hr. · 6 Klar. [P/W: 3] · 4 Fg. [P: 2, W: 0] - 12 Wald-Hr. · 12 Trp. [P: 9] · 4 Pos. [P/W: 4 Hr.] - Trgl. · Beck. · Tamb. · Kast. [nur in P] - Hfe. [in P/W].
$53.99
48.49 €
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Richard Wagner
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Tannhäuser und der Sängerkrieg auf Wartburg
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Schott Music - Digital
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SheetMusicPlus
Let Me Be There: Score
Digital Download SKU: AX.00-PR-0001314 Score. Composed by John Rostill. Arra…
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Digital Download SKU: AX.00-PR-0001314 Score. Composed by John Rostill. Arranged by Jay Althouse. Instructional. Score. 20 pages. Alfred Music - Digital Sheet Music #00-PR-0001314. Published by Alfred Music - Digital Sheet Music (AX.00-PR-0001314). UPC: 038081310367.This Olivia Newton-John hit from the ’70s translates perfectly as a gospel-edged pop piece for today’s choirs. There’s a little hint of Elvis, too. Well-crafted choral writing combines with rhythmic drive to make your group come alive. There’s a brief hand clapping a cappella section as the piece builds toward the big finish.
$8.00
7.18 €
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John Rostill
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Jay Althouse
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Let Me Be There: Score
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Let Me Be There: Guitar
Guitar - Digital Download SKU: AX.00-PC-0001331_G Guitar. Composed by John R…
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Guitar - Digital Download SKU: AX.00-PC-0001331_G Guitar. Composed by John Rostill. Arranged by Jay Althouse. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0001331_G. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001331_G). UPC: 038081310367.This Olivia Newton-John hit from the ’70s translates perfectly as a gospel-edged pop piece for today’s choirs. There’s a little hint of Elvis, too. Well-crafted choral writing combines with rhythmic drive to make your group come alive. There’s a brief hand clapping a cappella section as the piece builds toward the big finish.
$4.00
3.59 €
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John Rostill
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Jay Althouse
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Let Me Be There: Guitar
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
There's Room for Many-a More!
Chorale 2 parties
(incorporating This Train, Get On Board, Little Children (The Gospel Train), and New …
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(incorporating This Train, Get On Board, Little Children (The Gospel Train), and New River Train ). By Greg Gilpin. For Two-part choir, Piano. Educational Octavo. New Horizons Series. Concert, Multicultural. Published by Heritage Music Press
$2.50
2.25 €
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Chorale 2 parties
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Greg Gilpin
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There's Room for Many-a More!
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Heritage Music Press
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SheetMusicPlus
Were You There
Hautbois (partie séparée)
Oboe Solo - Level 3 - Digital Download SKU: A0.885472 Composed by African American …
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Oboe Solo - Level 3 - Digital Download SKU: A0.885472 Composed by African American Spiritual. Arranged by Gerard Willmes. Concert,Easter,Sacred,Spiritual. Individual part. 6 pages. Gerard Willmes #3594237. Published by Gerard Willmes (A0.885472). A 2018 Instrumental Arranging Contest Entry.This new setting for oboe and piano will make an excellent addition to any church service as prelude, postlude, or special music, or will provide a quiet, contemplative moment in your recital. Opening with solo oboe, the accompaniment joins as the oboe transitions to a simple transcription of this timeless hymn. New music is combined with old until the solo oboe returns to pose the question Were you there? one last time. .
$4.99
4.48 €
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Hautbois (partie séparée)
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African American Spiritual
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Gerard Willmes
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Were You There
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Gerard Willmes
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SheetMusicPlus
There's A New Song In My Heart (unacc)
Quatuor de Flûtes : 4 flûtes
Flute Quartet - Grade 2.5 - Digital Download SKU: DX.110405 Composed by John W. Pet…
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Flute Quartet - Grade 2.5 - Digital Download SKU: DX.110405 Composed by John W. Peterson. Traditional. Sacred instrumental music. Score and parts. 7 pages. David E. Smith - Digital Sheet Music #110405. Published by David E. Smith - Digital Sheet Music (DX.110405). An accompanied flute solo which begins with a piano introduction and then presents a modified melody with an extended cadence in the piano. A modulation occurs where the solo line presents a variation of the original theme to a higher register giving a sense of intensity and then ends with a solemn motive.Key of F.
$7.50
6.74 €
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Quatuor de Flûtes : 4 flûtes
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John W
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There's A New Song In My Heart
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David E. Smith - Digital Sheet Music
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SheetMusicPlus
There's A Fine, Fine Line
Chorale TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.512679 Composed by Jeff Ma…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.512679 Composed by Jeff Marx and Robert Lopez. Arranged by Theodore Hicks. Contemporary. Octavo. 7 pages. Theo Hicks Music #6504181. Published by Theo Hicks Music (A0.512679). Made famous from the popular musical, Avenue Q, this arrangement was first performed by GQ and Parkside Melody. This piece works well for small ensemble (quartet minimum) or a large choir.SSAA Voicing also available.This song is contestable in Barbershop Harmony Society contests, Sweet Adeline's International contests, and Harmony Incorporated contests.For more information or arrangement titles from Theodore Hicks, visit www.theohicksmusic.com.LIKE Theo Hicks Music on Facebook at https://www.facebook.com/theohicksmusic/Learning Tracks are available through New Voice Studio (https://newvoice.studio/).For more information on GQ or purchasing their albums, visit https://www.girlsquartet.com/For more information on Parkside Melody, visit https://parksideharmony.org/
$4.00
3.59 €
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Chorale TTBB
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Jeff Marx and Robert Lopez
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Theodore Hicks
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There's A Fine, Fine Line
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Theo Hicks Music
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SheetMusicPlus
There's a Song in the Air (Downloadable Choral Score)
Chorale 3 parties
SSA choir, piano, flute or violin - Medium - Digital Download SKU: MQ.50-1527-E Com…
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SSA choir, piano, flute or violin - Medium - Digital Download SKU: MQ.50-1527-E Composed by Valerie Shields. Christmas. Instrument part. 12 pages. MorningStar Music Publishers - Digital Sheet Music #50-1527-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-1527-E). New setting of American classic. Instrumental part soars over traditional melody which is set with fresh harmonies. Splendid part writing for treble chorus.
$2.65
2.38 €
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Chorale 3 parties
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Valerie Shields
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There's a Song in the Air
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
There Came a Wind like a Bugle
Chorale 2 parties
Choral Choir,Choral (SA) - Level 2 - Digital Download SKU: A0.1395757 By Gerda Blok…
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Choral Choir,Choral (SA) - Level 2 - Digital Download SKU: A0.1395757 By Gerda Blok-Wilson. By Gerda Blok-Wilson. 21st Century,Classical,Contest,Festival,Halloween,Instructional. 16 pages. CanSing #979129. Published by CanSing (A0.1395757). Gerda Blok-Wilson’s new composition of Emily Dickinson’s “There Came a Wind Like a Bugle†is a lively setting for SA voices with piano accompaniment. It portrays the arrival of a powerful wind and tells of its effects on the surroundings and impending disaster it brings. The piece has an ominous, almost supernatural sense that is driving to the end.Although the choral or duet piece would work at any time of year, it could set the tone for a Halloween concert, adding an eerie atmosphere and sense of mystery.Beautiful demo recording by ROCKY MOUNTAIN CHAMBER CHOIR - https://www.rockymountainchamberchoir.com/ Visit: www.gerdablokwilson.ca for a comprehensive selection of UPPER, LOWER and MIXED VOICE RepertoirGreat festival selection!YouTube: https://youtu.be/7elBk2jDogkSuggested themes: Nature’s powerFear of the unknownImpermanence and changeResilienceThe Inevitability of Fate. #ChoralMusic #EmilyDickinson #ChoralComposer #ChoirLife #PoetryInMusic #ChoralMagic #ChoralCanada #UpperVoices #Piano #FestivalSelection #GerdaBlok #rmccvc Social Media informationYoutube: Cansing ChoralInstagram: gerdachoralcomposerFaceBook: Gerda Blok-WilsonTwitter: @BlokWilsonThreads: gerdachoralcomposer Email: gerda.blokwilson@gmail.com for information about individual practice files. Also, I’d love to hear a video performance of your choir. Please send. Gerda Blok-Wilson, a Canadian composer, conductor, and educator, is a fervent advocate for the transformative power of choral singing and its remarkable ability to inspire people with diverse abilities. Her motto reflects that belief: If you can talk, you can sing! Since 2018, Gerda has dedicated herself to compiling and editing her compositions for publication. Her portfolio ranges from musicals and choral works tailored to nurture budding choirs to advanced choral repertoire that has garnered acclaim through live performances and recordings. Gerda is artist in residence at St. Patrick’s Regional High School in Vancouver and serves as the artistic director for the Vancouver Cansing Community Choir, which she founded in 2010. She is a frequent guest rehearsal conductor, helping local choirs polish their performances. Gerda's educational background includes a Bachelor of Music, a Kodály Teaching certificate, and a Master of Education with a focus on Kodály pedagogy.
$2.25
2.02 €
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Chorale 2 parties
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Gerda Blok-Wilson
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There Came a Wind like a Bugle
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CanSing
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SheetMusicPlus
There's A Small Hotel
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1291581 By Charlie Byrd. By Lorenz …
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Piano Solo - Level 4 - Digital Download SKU: A0.1291581 By Charlie Byrd. By Lorenz Hart and Richard Rodgers. Arranged by Jerome Gilmer. Broadway,Jazz,Musical/Show. Score. 3 pages. Jerome Gilmer Music #882205. Published by Jerome Gilmer Music (A0.1291581). A classy little swing tune about a real hotel in New Jersey that I have visited. It used to be where the Paul Whiteman Orchestra rehearsed new music before bringing it to New York. This version has the same bounce, but with some newer harmonization. Good for upper intermediate and advanced players.
$4.99
4.48 €
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Piano seul
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Charlie Byrd
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Jerome Gilmer
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There's A Small Hotel
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Jerome Gilmer Music
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SheetMusicPlus
There's a New Church Coming - A Piano Solo
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.903869 Composed by Kenneth L. Morri…
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Piano Solo - Level 4 - Digital Download SKU: A0.903869 Composed by Kenneth L. Morrison. Arranged by Kenneth L. Morrison and M. E. Reich. Christian,Contemporary,Sacred. Score. 5 pages. Kenneth L. Morrison #3577857. Published by Kenneth L. Morrison (A0.903869). A Piano Solo for worship services. Written to celebrate church planting, mission outreach, and spiritual renewal. Originally composed as a vocal solo; the lyrics are printed on the last page. It can be played for any occasion and in any venue. Kenneth L. Morrison and M. E. Reich belong to ASCAP. Demo Video: http://usefulmusicgroup.online Contact us: UsefulMusicGroup@gmail.com Song video at YouTube: https://youtu.be/idQhm6TAc3s
$1.99
1.79 €
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Piano seul
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Kenneth L
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Kenneth L
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There's a New Church Coming - A Piano Solo
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Kenneth L. Morrison
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SheetMusicPlus
Bock's Best – Volume 4
Piano seul
Piano Solo Piano SKU: HL.8738370 Composed by Fred Bock. Piano solos. Fred Bock Publ…
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Piano Solo Piano SKU: HL.8738370 Composed by Fred Bock. Piano solos. Fred Bock Publications. General Worship, Sacred. 148 pages. Fred Bock Music Company #BG0880. Published by Fred Bock Music Company (HL.8738370). ISBN 9780793593927. UPC: 073999383706. 9.0x12.0x0.335 inches.This volume features 50 outstanding piano arrangements, including: Another Time Another Place • Give Thanks • I Love You, Lord • There Is Strength in the Name of the Lord • We Will Glorify • and more.
Song List: In This Very Room (Ron and Carol Harris) Wedding Song (Noel Paul Stookey) Fairest Lord Jesus AMERICA, THE BEAUTIFUL (SAMUEL WARD) ANOTHER TIME, ANOTHER PLACE (GARY DRISKELL) HEAVEN CAME DOWN, AND GLORY FILLED BY SOUL (JOHN W PETERSON) JESUS, THE VERY THOUGHT OF THEE (JOHN B DYKES) I Have Decided To Follow Jesus All Creatures of Our God and King When I Survey The Wondrous Cross AMAZING GRACE (NEWTON) BATTLE HYMN OF THE REPUBLIC BE STILL AND KNOW (S. CHAPMAN) BLESSED ASSURANCE (FANNY CROSBY) CHRIST THE LORD IS RISEN TODAY (LYRA DAVIDICA) COME SHARE THE LORD (BRYAN JEFFERY LEECH) FATHER, I ADORE YOU (TERRY COELHO) FRIENDS (MICHAEL W SMITH) GIVE THANKS (HENRY SMITH) GREAT IS THE LORD (MICHAEL W SMITH) HE STARTED THE WHOLE WORLD SINGING (WILLIAM J GAITHER) HIS NAME IS WONDERFUL (AUDREY MIEIR) HOLY IS THE LORD (FRANZ SCHUBERT) HOLY, HOLY (JIMMY OWENS) HOLY, HOLY, HOLY (JOHN B DYKES) HOW GREAT THOU ART (STUART K HINE) HOW MAJESTIC IS YOUR NAME (MICHAEL W SMITH) I LOVE YOU, LORD (LAURIE KLEIN) I SING THE GREATNESS OF OUR GOD (FRED BOCK) I'VE JUST SEEN JESUS (DAN DANIELS/WILLIAM GAITHER IF MY PEOPLE (JIMMY OWENS) IT IS WELL WITH MY SOUL (PHILIP BLISS) JESUS, WE JUST WANT TO THANK YOU (WILLIAM GAITHER) JOYFUL, JOYFUL, WE ADORE THEE (LUDWIG VAN BEETHOVEN) JUST AS I AM (WILLIAM B BRADBURY) LEAD ME, LORD (SAMUEL WESLEY) LIFT HIGH THE CROSS (SYDNEY H NICHOLSON) MAJESTY (JACK HAYFORD) NO ROOM (JOHN W PETERSON) O SACRED HEAD, NOW WOUNDED (HANS LEO HASSLER) PEOPLE NEED THE LORD (GREG NELSON, PHILL MCHUGH) SEEK YE FIRST THE KINGDOM OF GOD (KAREN LAFFERTY) SOON AND VERY SOON (ANDRAE CROUCH) THE LONGER I SERVE HIM (WILLIAM J GAITHER) THERE IS STRENGTH IN THE NAME OF THE LORD (PHILL MCHUGH, GLORIA GAITHER, SANDI P HELVERING) THIS OL' HOUSE (STUART HAMBLEN) TO GOD BE THE GLORY (FANNY CROSBY) WE ARE GOD'S PEOPLE (JOHANNES BRAHMS) WE HAVE COME INTO HIS HOUSE (BRUCE BALLINGER) WE WILL GLORIFY (TWILA PARIS)
$29.99
26.93 €
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Piano seul
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Fred Bock
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Bock's Best – Volume 4
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Fred Bock Music Company
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SheetMusicPlus
There's Only One, sacred music for SATB choir
Chorale SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1296230 Composed by…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1296230 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & Worship,Religious,Sacred. 12 pages. Kevin G. Pace #886474. Published by Kevin G. Pace (A0.1296230). An exquisitely beautiful choral composition for Christmas.  Music by Kevin G. Pace.  Text by Mary Ann W. Snowball.Text:Who would have thought a manger stall would hold a King for blessing all?Who would have thought angelic chords would shepherd in our brand-new Lord?Who would have thought a star would shine to lead sage wisemen to His side?Who would have thought this tiny sight (light) would grow to be the saving Christ?There’s only One our Father chose for total Love to be bestowed.There’s only One! God’s chosen Son! He is the One!Who would have thought this newest Child would be the One to reconcile?Who would have thought this Babe who came would change the world with His Name?Who would have thought a manger birth and this Son’s life would save the earth?Who would have thought He’d be the One, this tiny Infant who had come?There’s only One! There’s only One! Our Father’s plan revealed His Son.There’s only One! God’s chosen Son! He is the One!Who would have thought this Baby dear would feel His Father’s love so near?Who would have thought this Baby Boy would bring the world so much joy?There’s only One who gave such love for us and Father up above.There’s only One who claims our laud---this precious Child, this Son of God.There’s only One our Father chose for total Love to be bestowed.There’s only One! God’s precious Son! He is the One!There’s only One! He is the One! God’s chosen Son!
$1.99
1.79 €
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Chorale SATB
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Kevin G
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There's Only One, sacred music for SATB choir
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Kevin G. Pace
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SheetMusicPlus
Hey There
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015636 Composed by Jerry Ross …
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015636 Composed by Jerry Ross and Richard Adler. Musical. 3 pages. Alfred Music - Digital Sheet Music #00-PS-0015636. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0015636). ISBN 9780739094860. UPC: 038081456881.This massive songbook is packed with sheet music for 75 of the most memorable standards for all occasions! Dozens of gems from the golden years of 20th Century pop and jazz are joined by traditional melodies in this collection of essential songs that belong in every musician's repertoire. Titles: Ain't Misbehavin' * All of Me * America the Beautiful * At Last * The Best Is Yet to Come * Blue Moon * Butterfly * Chattanooga Choo Choo * Dance Little Bird (a.k.a. The Chicken Dance) * Danny Boy (Londonderry Air) * Deep Purple * Don't Get Around Much Anymore * Don't Sit Under the Apple Tree * Dream a Little Dream of Me * Elmer's Tune * Fly Me to the Moon * Havah Nagilah * Heart * Hernando's Hideaway * Hey There! * Hi-Lili, Hi-Lo * Hit the Road Jack * I Don't Know Why (I Just Do) * I Let a Song Go out of My Heart * I Put a Spell on You * I Wanna Be Loved by You * I'm a Little Mixed Up * I'm Gonna Sit Right Down and Write Myself a Letter * I'm in the Mood for Love * Laura * Leaving on a Jet Plane * The Lion Sleeps Tonight * Love Is a Many Splendored Thing * Love Story (Where Do I Begin) * Misty * Mood Indigo * Moonlight Serenade * My Man * Theme from New York, New York * On the Atchison, Topeka, and the Santa Fe * Orange Colored Sky * Over the Rainbow * The Pink Panther * Reach for Tomorrow * Rock Around the Clock * The Shadow of Your Smile * Singin' in the Rain * Smoke Rings * Somewhere My Love * Stairway to the Stars * Star Dust * Star Eyes * Stars Fell on Alabama * Straighten Up and Fly Right * Swinging on a Star * Take Five * Take the A Train * Taking a Chance on Love * That's Amore * There Will Never Be Another You * This Masquerade * Those Were the Days * Tie a Yellow Ribbon 'Round the Ole Oak Tree * The Trolley Song * The Twelfth of Never * We Just Couldn't Say Goodbye * What a Wonderful World * Whatever Lola Wants * When the Saints Go Marching In * Who's Sorry Now? * Yesterday When I Was Young * You Don't Have to Say You Love Me * You Made Me Love You * You Steppe.
$3.99
3.58 €
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Piano, Voix et Guitare
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Jerry Ross and Richard Adler
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Hey There
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Nine New York City Miniatures
Hautbois (partie séparée)
Oboe Solo - Level 4 - Digital Download SKU: A0.881259 Composed by Gary Powell Nash.…
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Oboe Solo - Level 4 - Digital Download SKU: A0.881259 Composed by Gary Powell Nash. Contemporary. Individual part. 13 pages. Gary Powell Nash #5985465. Published by Gary Powell Nash (A0.881259). Nine New York City Miniatures (2020) oboe solo began with Movement 7, A Million Numbered Streets. A Million Numbered Streets was originally conceived for a Vox Novus Composers Voice 15 Minutes of Fame call for scores for a one minute oboe solo piece, specifically themed from New York City, New York. In preparation, Nash discovered nearly 1,000 songs dedicated to NYC. Many of those were titled after numbered streets, hence Nash’s title A Million Numbered Streets. Nash’s creation employs a medium-fast highly syncopated song-like melody, alluding to a restless and busy NYC street. In an attempt to make A Million Numbered Streets more marketable, Nash decided to compose 8 additional miniatures around it. The 8 complementary miniatures are all approximately 1 minute in length and alternating fast tempo and slow tempo movements. There are no direct quotes from other songs; however, 3 of the movements are derived from and inspired by New York City related songs. Movement #4, Downtown Music was inspired by the song Downtown by Tony Hatch (made popular by Petula Clark’s vocals). Movement #8, Success is based on the song New York, New York by John Kander (best known for Frank Sinatra singing it). The title Success was inspired by the phrase If I can make it there, I’ll make it anywhere. Movement #9, Uptown Music is derived from the song Uptown Girl by Billy Joel. In addition, the title Spreading the News for movement 1, as well as that for movement 6, Vagabond Shoes are also phrases from the song New York, New York.
$12.00
10.78 €
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Hautbois (partie séparée)
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Gary Powell Nash
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Nine New York City Miniatures
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Gary Powell Nash
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SheetMusicPlus
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