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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
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CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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FLUTE A BEC
FLUTE DE PAN
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FORMATION MUSI…
GUITARE
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HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
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PIANO
SAXOPHONE
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PIANO & CLAVIERS
Piano seul
663
Piano Facile
119
Piano, Voix
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Piano, Voix et Guitare
48
Orgue
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Accompagnement Piano
31
Instruments en Do
20
Piano Trio: piano, violon, violoncelle
20
2 Pianos, 4 mains
14
Piano Quatuor: piano, violon, alto, violoncelle
12
1 Piano, 4 mains
11
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3
Clavecin
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Guitare
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VOIX
Chorale SATB
340
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59
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1
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1
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1
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Voix seule
1
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VENTS
2 Saxophones (duo)
133
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98
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90
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81
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78
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55
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Clarinette
51
2 Flûtes traversières (duo)
47
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26
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7
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6
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CUIVRES
Cor et Piano
83
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
72
Trompette, Piano
70
Trompette
61
Trombone et Piano
49
Cor
46
Trombone
45
Quatuor de Cuivres: 2 trompettes, Cor, trombone
44
Tuba et Piano
41
Tuba
33
2 Trombones (duo)
30
2 Trompettes (duo)
30
2 Cors (duo)
24
Quatuor de Cuivres : 2 trompettes, trombone, tuba
18
Trompette, Trombone (duo)
13
2 Tubas (duo)
12
Quatuor de cuivres: 4 trombones
7
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7
Trompette, Cor (duo)
6
Cor anglais, Piano
4
Trompette, Saxophone (duo)
4
Euphonium, Piano (duo)
4
Quatuor de cuivres: 4 cors
3
Quatuor de Cuivres
3
Trompette (partie séparée)
3
Cor, Tuba (duo)
2
Cor, Violoncelle (duo)
2
Trombone, Tuba (duo)
2
Trompette, Tuba (duo)
2
Ensemble de Tubas
1
Cor et Orgue
1
3 Trombones (trio)
1
Instruments en Sib
1
Trompette, Violoncelle et Piano
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1
2 Euphoniums (duo)
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Trompette, Violoncelle (duo)
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Ensemble de Cors
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3 Trompettes (trio)
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Trombone, Orgue
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Trompette, Basson (duo)
1
Tuba et Orgue
1
4 Tubas
1
Instruments en Fa
1
Quatuor de cuivres: 4 trompettes
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
214
Violon et Piano
130
Alto, Piano
91
Violoncelle, Piano
90
Violon
77
Violoncelle
63
Alto seul
54
Quintette à cordes: 2 violons, alto, violoncelle, basse
53
Contre Basse
42
2 Violons (duo)
37
Contrebasse, Piano (duo)
33
2 Violoncelles (duo)
32
2 Altos (duo)
31
Trio à Cordes: violon, alto, violoncelle
31
Violon, Violoncelle (duo)
25
Harpe
22
Violon, Alto (duo)
19
Alto (partie séparée)
12
2 Contrebasses (duo)
10
Trio à Cordes: 2 violons, violoncelle
10
4 Violoncelles
5
Violon (partie séparée)
5
Alto, Violoncelle (duo)
4
Piano Trio: Violon, Alto, Piano
4
Trio à cordes: 3 violins
4
Quatuor à cordes: 4 violons
3
Harpe, Voix
2
Trio à Cordes: 2 violons, alto
2
Trio à Cordes: 3 violoncelles
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Violoncelle (partie séparée)
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Contrebasse (partie séparée)
1
2 Violons, Piano
1
Violon, Violoncelle, Clarinette
1
Alto et Harpe
1
Quatuor à cordes : 4 altos
1
Violon, Clarinette, Piano (trio)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
682
Cloches
78
Orchestre
62
Orchestre à Cordes
60
Ensemble Jazz
35
Orchestre de chambre
15
Fanfare
14
Ensemble de cuivres
13
Jazz combo
13
Ensemble de Percussions
7
Marimba
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Percussion (partie séparée)
2
Batterie
1
Piano et Orchestre
1
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AUTRES
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This Is The Moment
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The Sundials
Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00
6.3 €
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Matthew Scott Phillips
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a shadow
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
Two Scenes from The Rubáiyát of Omar Khayyám (Trio for Bb Clarinet, Violin and Piano)
Violon, Clarinette, Piano (trio)
B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed …
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B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenhart #806841. Published by Adam Lenhart (A0.1208741). Introduction to The Rubáiyát of Omar KhayyámThe Rubaiyat of Omar Khayyam is a Persian poetry collection first put together in 1460 in Shiraz.  It consists of quatrains, four-line poems, with a set of unconventional themes.  The poetry is irreligious and questions the afterlife and God's providence.  It shows keen awareness of the shortness of life and the finality of death. It advises therefore that every fleeting moment of every day should be savored, with wine, lovers and song. The combination of a serious philosophy of life and a carefree attitude has made the poetry popular for centuries.  In 1859, Edward FitzGerald brought out a loose English translation that took the world by storm.  It became the most beloved and widely known poem in the English language for decades until its popularity finally faded in the late twentieth century. Although they were attributed to the great mathematician and astronomer, Omar Khayyam (d. 1131), the poems were by many anonymous hands, and he was just a frame author, akin to Scheherezade in the Arabian Nights.- Dr. Juan Cole, Richard P. Mitchell Collegiate Professor of History at the University of MichiganAbout the CompositionTwo Scenes from The Rubáiyát of Omar Khayyám explores and embodies two of the main themes that carry throughout the quatrains of the poem collection. In FitzGerald's translation, the quatrains follow a day to night cycle. The two movements reflect this by starting off with an abrupt wake up section and ending the piece with a nocturne.  The first movement, Wine, celebrates the camaraderie, joy and chaos that comes through the physical joy of being with friends. The clarinet, violin and piano interact in a conversational way, talking, laughing, and insulting one another in their own independent lines.The second movement is entitled Intimacy and explores the emotional joy of connecting with one another. The movement is set in a waltz style dance and draws influence from Chopin, Liszt and other romantic era composers. This is juxtaposed by youthful and energetic phrases so that the piece embodies all forms of love: young love, years of marriage and even friendship. Each movement has a sense of urgency and density which is present in the rubá'iyát as well, expressing to the reader that our time on Earth is so short and to make the most of each day.---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition, and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$14.99
13.48 €
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Violon, Clarinette, Piano (trio)
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Adam Lenhart
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Two Scenes from The Rubáiyát of Omar Khayyám
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Adam Lenhart
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SheetMusicPlus
THE LAST MY FLOWER (THE WOLF AND THE WITCH)
Piano seul
Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporar…
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Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709). Music and song composed by meTHE LAST MY FLOWER (the wolf and the witch) I look at my last flower It loses its scentand I do not know what to do I protect you with warmthof this other story I have to tell creatures alone and desperate many scars heal a witch and a wolf do not know yet that their destinies are to merge and starts this magical storysweet as ancient fable in a forest with no place and no age out of touch and the time is stopped and does not move a breath and the heart, explodes and skip a beat and look you recognize like not having never lost and the wolf that is injured a white rose in red has turned He is bleeding along with drops of pain his red eyes burning with love and the witch instead hides because she isn't beautiful and it is not important nobody in the world has never belonged and a caress he never touched she care and caresses the soul he looks at her and his anger dominates and one year only lasts a moment lost in eternity and the wolf tells tales and the witch makes magic potions and exchange promises useless that the night guard and she will dance will dance naked and the wolf with his heart on his sleevelying by the fire that lights up, so free unobstructed and are reflected in the magic lake and do not feel that cold shiver... not last, do not you feel it too?cold around us Abracadabra !! from caterpillar to butterfly Alakazam !! and I too am beautiful do not you wonder how and why I started to talk to me snow fallsbut we are in August and there is nothing that you find a place this my music speaks for it self this is the strangest tale that is I stop here It will end well I can not tell the end of a love that is not written yet I stop here It will end well in a vacuum and the absence these days my silence and inconstancy in your feeling sthe flower dies already go wolf go stop thinking about her from your pack you will need to return and then runs away witch will if you want to transform changes role an actress who artand you will have new flowers day step into the dark caverns of regret Mix them with potions and transform everything into tears like a cat in the night I try the food in the trashno sun, no light no god here that help me body and spirit dentedas a glass stuckinside my poor heart the memory of a love He never really lived so alive in the mind is my animal instinct that makes me ache while another dream diesthe witch in the lake you slidethe water lapping against the planin his eyes the wolf that is now already far a fairy tale real or invented in between my hidden truth all my stories strange and weird over this skin are now tattooed I watc.
$5.00
4.5 €
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Piano seul
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Monica Bergo
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THE LAST MY FLOWER
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Moni Bergo
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SheetMusicPlus
Mysterious Moment for alto flute and string trio
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by…
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String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.19 €
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Trio à Cordes: violon, alto, violoncelle
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David Warin Solomons
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Mysterious Moment for alto flute and string trio
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David Warin Solomons
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SheetMusicPlus
Mysterious Moment for oboe and string trio
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 …
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.19 €
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David Warin Solomons
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Mysterious Moment for oboe and string trio
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David Warin Solomons
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SheetMusicPlus
Persecuted Then Crucified duet and piano second soprano and alto low range
Alto Voice,Piano,Soprano voice - Level 3 - Digital Download SKU: A0.1339742 Compose…
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Alto Voice,Piano,Soprano voice - Level 3 - Digital Download SKU: A0.1339742 Composed by Connie Boss. Arranged by Connie Boss. Easter,Lent,Religious,Sacred. 13 pages. Connie Boss #925407. Published by Connie Boss (A0.1339742). This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.This arrangement is for mezzo soprano and alto and piano. It could also work for alto and tenor voices. I will have other voices posted as well.questions or requests, email cdboss@cvalley.netLyrics:Persecuted then CrucifiedRefrain:Persecuted, then crucifiedUp to the moment when he diedVerse 1:They stripped him of all His clothesThen they gave Him a scarlet robe A crown of thorns placed on His headBlood ran down His face until His deathRefrain:Verse 2:He Carried the cross to CalvaryWhere it was His destinyThey nailed His feet and then His handsAmong two thieves the cross would standRefrain:Bridge 1:He saved others but he can’t save himself! He says He is the king of Israel! Let him come down from the cross, Then, we will believe in him.Refrain:Verse 3:They put sour wine to His mouthHe did not drink it but spat it outThey divided up all His clothesWith the dice that they had rolledRefrain 2:Persecuted, then crucifiedUp to the moment when he diedThen He gave His final cry“Father please forgive   themâ€Bridge 2:Then he hung his head to dieThen the sky grew dark and dimTerrified, the people then realizedHe truly was the son of God Final ending:Persecuted, then crucifiedUp to the moment when he died.
$5.99
5.39 €
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Connie Boss
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Connie Boss
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Persecuted Then Crucified duet and piano second soprano and alto low range
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Connie Boss
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SheetMusicPlus
Persecuted Then Crucified solo and piano key of G
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1340240 Composed by C…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1340240 Composed by Connie Boss. Arranged by Connie Boss. Easter,Lent,Religious,Sacred. Score. 10 pages. Connie Boss #925914. Published by Connie Boss (A0.1340240). This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.This arrangement is for solo and piano. I will have other voices posted as well.questions or requests, email cdboss@cvalley.netLyrics:Persecuted then CrucifiedRefrain:Persecuted, then crucifiedUp to the moment when he diedVerse 1:They stripped him of all His clothesThen they gave Him a scarlet robe A crown of thorns placed on His headBlood ran down His face until His deathRefrain:Verse 2:He Carried the cross to CalvaryWhere it was His destinyThey nailed His feet and then His handsAmong two thieves the cross would standRefrain:Bridge 1:He saved others but he can’t save himself! He says He is the king of Israel! Let him come down from the cross, Then, we will believe in him.Refrain:Verse 3:They put sour wine to His mouthHe did not drink it but spat it outThey divided up all His clothesWith the dice that they had rolledRefrain 2:Persecuted, then crucifiedUp to the moment when he diedThen He gave His final cry“Father please forgive   themâ€Bridge 2:Then he hung his head to dieThen the sky grew dark and dimTerrified, the people then realizedHe truly was the son of God Final ending:Persecuted, then crucifiedUp to the moment when he died.
$5.50
4.95 €
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Piano, Voix et Guitare
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Connie Boss
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Connie Boss
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Persecuted Then Crucified solo and piano key of G
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Connie Boss
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SheetMusicPlus
Persecuted Then Crucified Strings quintet with piano
Cello,Piano Accompaniment,Viola,Violin - Level 3 - Digital Download SKU: A0.1343621…
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Cello,Piano Accompaniment,Viola,Violin - Level 3 - Digital Download SKU: A0.1343621 Composed by Connie Boss. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 45 pages. Connie Boss #929144. Published by Connie Boss (A0.1343621). This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.This arrangement is in the key of G and is for strings quintet - three violins, a viola and a cello and piano. Parts are included for easier playing since the piece is a lot of pages long.questions or requests, email cdboss@cvalley.netLyrics are included on the violin parts to make it easier to follow along.  They are below as well.Persecuted then CrucifiedRefrain:Persecuted, then crucifiedUp to the moment when he diedVerse 1:They stripped him of all His clothesThen they gave Him a scarlet robe A crown of thorns placed on His headBlood ran down His face until His deathRefrain:Verse 2:He Carried the cross to CalvaryWhere it was His destinyThey nailed His feet and then His handsAmong two thieves the cross would standRefrain:Bridge 1:He saved others but he can’t save himself! He says He is the king of Israel! Let him come down from the cross, Then, we will believe in him.Refrain:Verse 3:They put sour wine to His mouthHe did not drink it but spat it outThey divided up all His clothesWith the dice that they had rolledRefrain 2:Persecuted, then crucifiedUp to the moment when he diedThen He gave His final cry“Father please forgive   themâ€Bridge 2:Then he hung his head to dieThen the sky grew dark and dimTerrified, the people then realizedHe truly was the son of God Final ending:Persecuted, then crucifiedUp to the moment when he died.
$7.99
7.19 €
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Connie Boss
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Connie Boss
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Persecuted Then Crucified Strings quintet with piano
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Connie Boss
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SheetMusicPlus
Persecuted Then Crucified strings trio with piano key of G
Cello,Piano Accompaniment,Violin - Level 3 - Digital Download SKU: A0.1342288 Compo…
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Cello,Piano Accompaniment,Violin - Level 3 - Digital Download SKU: A0.1342288 Composed by Connie Boss. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 27 pages. Connie Boss #927805. Published by Connie Boss (A0.1342288). This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.This arrangement is in the key of G and is for strings trio - two violins and a cello and piano.  I will have it in a lower range in key of C for mezzon soprano and alto or alot and tenor as well.questions or requests, email cdboss@cvalley.netLyrics are included on the violin parts to make it easier to follow along. They are below as well.Persecuted then CrucifiedRefrain:Persecuted, then crucifiedUp to the moment when he diedVerse 1:They stripped him of all His clothesThen they gave Him a scarlet robe A crown of thorns placed on His headBlood ran down His face until His deathRefrain:Verse 2:He Carried the cross to CalvaryWhere it was His destinyThey nailed His feet and then His handsAmong two thieves the cross would standRefrain:Bridge 1:He saved others but he can’t save himself! He says He is the king of Israel! Let him come down from the cross, Then, we will believe in him.Refrain:Verse 3:They put sour wine to His mouthHe did not drink it but spat it outThey divided up all His clothesWith the dice that they had rolledRefrain 2:Persecuted, then crucifiedUp to the moment when he diedThen He gave His final cry“Father please forgive   themâ€Bridge 2:Then he hung his head to dieThen the sky grew dark and dimTerrified, the people then realizedHe truly was the son of God Final ending:Persecuted, then crucifiedUp to the moment when he died.
$7.99
7.19 €
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Connie Boss
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Connie Boss
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Persecuted Then Crucified strings trio with piano key of G
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Connie Boss
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SheetMusicPlus
Persecuted Then Crucified SATB flute or violin or cello with piano
Alto Voice,Bass Voice,Cello,Flute,Piano Accompaniment,Soprano voice,Tenor Voice,Violin - L…
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Alto Voice,Bass Voice,Cello,Flute,Piano Accompaniment,Soprano voice,Tenor Voice,Violin - Level 3 - Digital Download SKU: A0.1343035 Composed by Connie Boss. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 34 pages. Connie Boss #928546. Published by Connie Boss (A0.1343035). This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.This arrangement is in the key of G and is for SATB, flute or violin or cello and piano. Parts are included with purchase. I will have it in a lower range in key of C for mezzon soprano and alto or alot and tenor as well.questions or requests, email cdboss@cvalley.netLyrics:Persecuted then CrucifiedRefrain:Persecuted, then crucifiedUp to the moment when he diedVerse 1:They stripped him of all His clothesThen they gave Him a scarlet robe A crown of thorns placed on His headBlood ran down His face until His deathRefrain:Verse 2:He Carried the cross to CalvaryWhere it was His destinyThey nailed His feet and then His handsAmong two thieves the cross would standRefrain:Bridge 1:He saved others but he can’t save himself! He says He is the king of Israel! Let him come down from the cross, Then, we will believe in him.Refrain:Verse 3:They put sour wine to His mouthHe did not drink it but spat it outThey divided up all His clothesWith the dice that they had rolledRefrain 2:Persecuted, then crucifiedUp to the moment when he diedThen He gave His final cry“Father please forgive   themâ€Bridge 2:Then he hung his head to dieThen the sky grew dark and dimTerrified, the people then realizedHe truly was the son of God Final ending:Persecuted, then crucifiedUp to the moment when he died.
$7.99
7.19 €
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Connie Boss
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Connie Boss
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Persecuted Then Crucified SATB flute or violin or cello with piano
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Connie Boss
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SheetMusicPlus
Persecuted Then Crucified solo and some harmony with piano key of G
Alto Voice,Piano Accompaniment,Soprano voice - Level 3 - Digital Download SKU: A0.13403…
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Alto Voice,Piano Accompaniment,Soprano voice - Level 3 - Digital Download SKU: A0.1340300 Composed by Connie Boss. Arranged by Connie Boss. Easter,Lent,Religious,Sacred. 12 pages. Connie Boss #925973. Published by Connie Boss (A0.1340300). This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.This arrangement is in the key of G and is for a solo voice with a harmony voice and piano.  I have it in a lower range in key of C for mezzon soprano and alto or alot and tenor as well.questions or requests, email cdboss@cvalley.netLyrics:Persecuted then CrucifiedRefrain:Persecuted, then crucifiedUp to the moment when he diedVerse 1:They stripped him of all His clothesThen they gave Him a scarlet robe A crown of thorns placed on His headBlood ran down His face until His deathRefrain:Verse 2:He Carried the cross to CalvaryWhere it was His destinyThey nailed His feet and then His handsAmong two thieves the cross would standRefrain:Bridge 1:He saved others but he can’t save himself! He says He is the king of Israel! Let him come down from the cross, Then, we will believe in him.Refrain:Verse 3:They put sour wine to His mouthHe did not drink it but spat it outThey divided up all His clothesWith the dice that they had rolledRefrain 2:Persecuted, then crucifiedUp to the moment when he diedThen He gave His final cry“Father please forgive   themâ€Bridge 2:Then he hung his head to dieThen the sky grew dark and dimTerrified, the people then realizedHe truly was the son of God Final ending:Persecuted, then crucifiedUp to the moment when he died.
$5.99
5.39 €
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Connie Boss
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Connie Boss
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Persecuted Then Crucified solo and some harmony with piano key of G
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Connie Boss
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SheetMusicPlus
Persecuted Then Crucified duet and piano key of G for soprano and alto
Alto Voice,Piano Accompaniment,Soprano voice - Level 3 - Digital Download SKU: A0.13402…
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Alto Voice,Piano Accompaniment,Soprano voice - Level 3 - Digital Download SKU: A0.1340202 Composed by Connie Boss. Arranged by Connie Boss. Easter,Lent,Religious,Sacred. 13 pages. Connie Boss #925873. Published by Connie Boss (A0.1340202). This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.This arrangement is in the key of G and is for soprano and alto and piano.  I will have it in a lower range in key of C for mezzon soprano and alto or alot and tenor as well.questions or requests, email cdboss@cvalley.netLyrics:Persecuted then CrucifiedRefrain:Persecuted, then crucifiedUp to the moment when he diedVerse 1:They stripped him of all His clothesThen they gave Him a scarlet robe A crown of thorns placed on His headBlood ran down His face until His deathRefrain:Verse 2:He Carried the cross to CalvaryWhere it was His destinyThey nailed His feet and then His handsAmong two thieves the cross would standRefrain:Bridge 1:He saved others but he can’t save himself! He says He is the king of Israel! Let him come down from the cross, Then, we will believe in him.Refrain:Verse 3:They put sour wine to His mouthHe did not drink it but spat it outThey divided up all His clothesWith the dice that they had rolledRefrain 2:Persecuted, then crucifiedUp to the moment when he diedThen He gave His final cry“Father please forgive   themâ€Bridge 2:Then he hung his head to dieThen the sky grew dark and dimTerrified, the people then realizedHe truly was the son of God Final ending:Persecuted, then crucifiedUp to the moment when he died.
$5.99
5.39 €
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Connie Boss
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Connie Boss
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Persecuted Then Crucified duet and piano key of G for soprano and alto
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Connie Boss
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SheetMusicPlus
Persecuted Then Crucified duet, flute or violin or piano with piano key of G
Alto Voice,Flute,Piano Accompaniment,Soprano voice - Level 3 - Digital Download SKU: A0…
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Alto Voice,Flute,Piano Accompaniment,Soprano voice - Level 3 - Digital Download SKU: A0.1342281 Composed by Connie Boss. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 21 pages. Connie Boss #927797. Published by Connie Boss (A0.1342281). This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.This arrangement is in the key of G and is for duet, flute or violin or cello and piano. Parts are included with purchase. I will have it in a lower range in key of C for mezzon soprano and alto or alot and tenor as well.questions or requests, email cdboss@cvalley.netLyrics:Persecuted then CrucifiedRefrain:Persecuted, then crucifiedUp to the moment when he diedVerse 1:They stripped him of all His clothesThen they gave Him a scarlet robe A crown of thorns placed on His headBlood ran down His face until His deathRefrain:Verse 2:He Carried the cross to CalvaryWhere it was His destinyThey nailed His feet and then His handsAmong two thieves the cross would standRefrain:Bridge 1:He saved others but he can’t save himself! He says He is the king of Israel! Let him come down from the cross, Then, we will believe in him.Refrain:Verse 3:They put sour wine to His mouthHe did not drink it but spat it outThey divided up all His clothesWith the dice that they had rolledRefrain 2:Persecuted, then crucifiedUp to the moment when he diedThen He gave His final cry“Father please forgive   themâ€Bridge 2:Then he hung his head to dieThen the sky grew dark and dimTerrified, the people then realizedHe truly was the son of God Final ending:Persecuted, then crucifiedUp to the moment when he died.
$7.99
7.19 €
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Connie Boss
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Connie Boss
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Persecuted Then Crucified duet, flute or violin or piano with piano key of G
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Connie Boss
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SheetMusicPlus
I Walk Beside Thee
Chorale SATB
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1376536 By Brooke G…
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1376536 By Brooke Griffin Carpenter. By Brooke Griffin Carpenter. Arranged by Brooke Griffin Carpenter. Christian,Praise & Worship,Religious,Sacred,Spiritual. 8 pages. Brooke Griffin Carpenter #961065. Published by Brooke Griffin Carpenter (A0.1376536). I wrote this song to describe my feelings about the atonement of Jesus Christ. It's a conversation with the Savior about His role in my life and my desire to follow Him. It was greatly inspired by the October 2012 General Conference address The First Great Commandment by Elder Jeffrey R. Holland. Elder Holland states: My beloved brothers and sisters, I am not certain just what our experience will be on Judgment Day, but I will be very surprised if, at some point in that conversation, God does not ask us exactly what Christ asked Peter: 'Did you love me?' I think He will want to know if in our very mortal, very inadequate, and sometimes childish grasp of things, did we at least understand one commandment, the first and greatest commandment of them all—'Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind' (Luke 10:27; see also Matthew 22:37–38). And if at such a moment we can stammer out, 'Yea, Lord, thou knowest that I love thee,' then He may remind us that the crowning characteristic of love is always loyalty. This song is a testament of the words I want to say when that day comes for me.*Please note that this is the choral version of this composition.
$2.75
2.47 €
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Chorale SATB
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Brooke Griffin Carpenter
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Brooke Griffin Carpenter
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I Walk Beside Thee
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Brooke Griffin Carpenter
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SheetMusicPlus
I Walk Beside Thee
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1376743 By Brooke Griffin Ca…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1376743 By Brooke Griffin Carpenter. By Brooke Griffin Carpenter. Arranged by Brooke Griffin Carpenter. Christian,Praise & Worship,Religious,Sacred,Spiritual. Score. 8 pages. Brooke Griffin Carpenter #961290. Published by Brooke Griffin Carpenter (A0.1376743). I wrote this song to describe my feelings about the atonement of Jesus Christ. It's a conversation with the Savior about His role in my life and my desire to follow Him. It was greatly inspired by the October 2012 General Conference address The First Great Commandment by Elder Jeffrey R. Holland. Elder Holland states: My beloved brothers and sisters, I am not certain just what our experience will be on Judgment Day, but I will be very surprised if, at some point in that conversation, God does not ask us exactly what Christ asked Peter: 'Did you love me?' I think He will want to know if in our very mortal, very inadequate, and sometimes childish grasp of things, did we at least understand one commandment, the first and greatest commandment of them all—'Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind' (Luke 10:27; see also Matthew 22:37–38). And if at such a moment we can stammer out, 'Yea, Lord, thou knowest that I love thee,' then He may remind us that the crowning characteristic of love is always loyalty. This song is a testament of the words I want to say when that day comes for me.*Please note that this is the solo version of this composition.
$2.75
2.47 €
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Piano, Voix
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Brooke Griffin Carpenter
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Brooke Griffin Carpenter
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I Walk Beside Thee
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Brooke Griffin Carpenter
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SheetMusicPlus
The True Heroes
Orchestre d'harmonie
Concert Band - Level 5 - Digital Download SKU: A0.1411069 Composed by Keiron Anders…
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Concert Band - Level 5 - Digital Download SKU: A0.1411069 Composed by Keiron Anderson. Classical,Contemporary. 124 pages. Songburd Music #993415. Published by Songburd Music (A0.1411069). Keiron Anderson brings us music for the moment, and perhaps no other moment yet in the 21st Century has revealed the vulnerable nature of humanity, and the interconnectedness of our world more than the COVID-19 pandemic, officially announced on March 11, 2020 by the World Health Organization.  The True Heroes is a piece that tells a part of the dramatic story of the struggles, heartaches and triumphs of the world’s medical professionals, and all who were a part of the health care industry to whom this piece is dedicated.  Using a dissonance in the chords, structured upon two perfect fifths a semi-tone apart, Anderson opens the story with suddenness and a pushed tempo that conveys an urgency and anxiety about the growing pandemic, and depicts how the health care workers are not people with super-powers, but rather individuals who are committed to self-sacrifice in using their skills to save the lives of others. The crisis is not over as we reach the middle of the piece where the tempo slows to a more thoughtful pace, allowing the health care worker (and the listener) a moment to rest, to reflect and to meditate, and to give enough time for the emotions to mend and energy to rebuild while the pandemic rages on around them.  Then the music once again resumes its original pace with growing fanfare for the health care worker and their resilience in the face of a momentous task, leading to a more dramatic and triumphal sound and force to conclude the piece.
$125.00
112.42 €
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Orchestre d'harmonie
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Keiron Anderson
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The True Heroes
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Songburd Music
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
21.58 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
The Sundials: II; Pereunt et Imputantur (They pass and are counted)
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio - Digital Download SKU: A0.1004149 Composed by Matthew …
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String Ensemble,String Trio - Digital Download SKU: A0.1004149 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 13 pages. Matthew Scott Phillips #3510885. Published by Matthew Scott Phillips (A0.1004149). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.8 €
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Trio à Cordes: violon, alto, violoncelle
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Matthew Scott Phillips
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The Sundials: II; Pereunt et Imputantur
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Matthew Scott Phillips
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SheetMusicPlus
The Sundials: III; Tempus Fugit Velut Umbra (Time flees like a shadow)
Piano Trio,String Ensemble - Digital Download SKU: A0.1004151 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004151 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 9 pages. Matthew Scott Phillips #3510887. Published by Matthew Scott Phillips (A0.1004151). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.8 €
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Matthew Scott Phillips
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The Sundials: III; Tempus Fugit Velut Umbra
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Matthew Scott Phillips
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SheetMusicPlus
The Sundials: I;Tempus Edax Rerum (Time devours things)
Piano Trio,String Ensemble - Digital Download SKU: A0.1004148 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004148 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 16 pages. Matthew Scott Phillips #3510879. Published by Matthew Scott Phillips (A0.1004148). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.8 €
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Matthew Scott Phillips
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The Sundials: I;Tempus Edax Rerum
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Matthew Scott Phillips
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SheetMusicPlus
Colores (Let the Children Teach Us)
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.12…
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1256884 Composed by Lon W. Chaffin. 21st Century,Chamber. 71 pages. LCS Productions #850272. Published by LCS Productions (A0.1256884). Imagine a place where cultures are blended and people of all races can laugh, play, sing, dance, and even pray together.  Colores is a musical tale in which children show us how to create such a place.A child walks on to a deserted playground, looking for others.  Another child joins.  They introduce themselves and begin to talk to each other.  A third joins the conversation, then another, and another, until there is a large group of children, creating a colorful, contrapuntal cacophony of vocal chatter.  After the introductions and lively conversations, they pause to decide what to do next.  As would be expected, they decide to just play.  They run races, play chase and tag, catch and kickball, and laugh and giggle until their energy is gone.  Settling down, and wondering what to do next, one child begins singing a tune that is familiar.  …but not to all of them.  So, it’s time to teach the song to everyone.The tune is shared, bit by bit, and one by one every child learns it and joins in.  Before it’s over, their full-voiced singing creates a choral tapestry in which every child adds his or her own color to the musical palette.After a brief conversation, they add their renewed energy to the song they just learned, pick up the pace, and dance.  They twist and spin, jump and swing, making up their moves as they go along.  But, as before, their energy wanes.  This time, as they settle down, one child feels so comfortable with these new friends, he chooses to share his faith in the form of a chant — a prayer.Some join his prayer, as others add a familiar religious tune.  They pray and sing, and their separate experiences combine to produce a stirring, blended chorale.  As they finish, the day ends and they quickly reminisce about the blended experiences that are now behind them.  Before they go their separate ways, they share a moment of gratitude for the place where they can be free to be who they are, together.On a musical note, Colores combines multiple scale structures and varying types of vertical harmonies to give the piece its color palette.  Each of the five voices is set in a different mode, with different tonal centers and sets of accidentals.  The harmony combines both traditional tertian chords with secondal, quartal, and quintal structures.The colors within the music are intended to represent the racial diversity of the borderland from which the composer drew his inspiration.  It is hoped that we can learn from the example of children who talk, laugh, play, sing, dance, and pray together.  …who are grateful for the time and experiences they share.
$35.00
31.48 €
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Lon W
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Colores
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LCS Productions
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SheetMusicPlus
Schubert: Moment Musicaux for Baritone Horn & Piano
Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552841 Compos…
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Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552841 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447443. Published by jmsgu3 (A0.552841). Baritone Horn version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Alto Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries. It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$32.95
29.63 €
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Franz Schubert
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James M
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Schubert: Moment Musicaux for Baritone Horn & Piano
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jmsgu3
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SheetMusicPlus
Schubert: Moment Musicaux for Alto Sax & Piano
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 2 - Digital Download SKU: A0.549015 Composed by Franz …
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Alto Saxophone,Piano - Level 2 - Digital Download SKU: A0.549015 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447439. Published by jmsgu3 (A0.549015). Alto Sax version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Alto Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries. It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$32.95
29.63 €
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Saxophone Alto et Piano
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Franz Schubert
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James M
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Schubert: Moment Musicaux for Alto Sax & Piano
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jmsgu3
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SheetMusicPlus
Schubert: Moment Musicaux for Baritone Sax & Piano
Saxophone Baryton, Piano
Baritone Saxophone,Piano - Level 2 - Digital Download SKU: A0.549018 Composed by Fr…
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Baritone Saxophone,Piano - Level 2 - Digital Download SKU: A0.549018 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447449. Published by jmsgu3 (A0.549018). Baritone Sax version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Bari Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries. It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$32.95
29.63 €
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Saxophone Baryton, Piano
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Franz Schubert
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James M
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Schubert: Moment Musicaux for Baritone Sax & Piano
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jmsgu3
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SheetMusicPlus
The Girl In The Green Bandanna
Woodwind Ensemble,Woodwind Quintet Bass Clarinet,Bassoon,Flute,Oboe - Level 5 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bass Clarinet,Bassoon,Flute,Oboe - Level 5 - Digital Download SKU: A0.1169176 By Franklyn Grace. By Franklyn Grace. Chamber,Contemporary. 39 pages. Franklyn Grace Creative Arts #769302. Published by Franklyn Grace Creative Arts (A0.1169176). The Girl In the Green Bandanna is a contemporary woodwind quintet for flute, oboe, clarinet, bass clarinet, and bassoon. It is based upon the classical Rondo Form, with this particular pattern of the form being ABACBA. These six sections that comprise the piece all focus in some capacity on two individual themes: the first, slower theme of the A Section and the contrastingly more lively theme that follows immediately afterward in the B Section.Below is a theoretical analysis of the parts and how they each have their own unique nod, whether big or small, to these two main themes. A1 (mm. 1-9): The opening section of the piece, which introduces Theme 1.B1 (mm. 10-22): Directly following the opening, this section introduces Theme 2.A2 (mm. 23-58): After a brief interlude from the bassoon part, the main motif from Theme 1 returns, presented as motivic manipulation in the clarinet part of this section, underneath the flute melody.C (mm. 59-123): A new, more jaunty section not yet heard in the piece, though which still contains occasional traces of the main motif from Theme 2.B2 (mm. 124-144): Theme 2 in a modulated key and with a more majestic energy. Here, the two themes merge together momentarily, as Theme 1 can be heard briefly in the Clarinet part during the first eight measures of this section, much akin to A2.A3 (mm. 145-149): The outro of the piece, which is a polytonal rendering of the modulated key from B2 and the original opening key.
$9.99
8.98 €
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Franklyn Grace
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The Girl In The Green Bandanna
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Franklyn Grace Creative Arts
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SheetMusicPlus
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