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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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This is America - vocal-piano sheet music
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8051
The Year of the Trumpeter (piano reduction)
Trompette, Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sac…
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sacred, Funeral. Piano Reduction, Solo Part. 14 pages. Published by Musica Nova USA
Year of the Trumpeter (El Año del Trompetista) is a piece for solo trumpet and band. Duration is 5 minutes, Grade for band and soloist is Grade 3. This is the piano reduction. It was composed in 2010 as an homage to four friends of mine who played trumpet and passed away in 2009. <br> <br> Fred Mills played trumpet with the Canadian Brass for 24 years. I met him when I performed with Harvey Phillips and his Tuba Consort when we joined the Canadian Brass in a Christmas concert at Carnegie Hall. I arranged a piccolo descant trumpet part for Fred that he played with the tuba group. We also worked together in Cordoba Argentina in 2006.<br> <br> Linares Rodriguez was a member of the La Armonica Band of Buñol. After he retired from playing, hebecame the manager for the society’s buildings. When I first lived in Buñol in 1996 we became goodfriends and sometimes took walking excursions together.<br> <br> Bill Maloof was my first boss as he was Chair of Composition during my first ten years as a facultymember at Berklee College of Music in Boston.<br> <br> Nedo Pandolfi was considered a great musical force in Rhode Island. His last concert with the Rhode Island Philharmonic Orchestra in 1983 was my first performance with the orchestra. At that time heplayed French Horn but his original instrument was trumpet.<br> <br> Year of the Trumpeter was premiered March 8, 2014 by Antonio Cambres Rodriguez and the CIM La Armonica, David Fiuza, Conductor in Buñol (Valencia), Spain. The version for trumpet and piano was premiered in Magallon, Spain, July 2017 by Antonio Cambres with the composer playing piano. The band version was recorded by Cambres and the CIM La Armonica, David Fiuza, Conductor. It is on the CD Music for Wind Orchestraon La Armonica Records.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.<br> <br> He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.Year of the Trumpeter (El Año del Trompetista) is a piece for solo trumpet and band. Duration is 5 minutes, Grade for band and soloist is Grade 3. This is the piano reduction. It was composed in 2010 as an homage to four friends of mine who played trumpet and passed away in 2009. <br> <br> Fred Mills played trumpet with the Canadian Brass for 24 years. I met him when I performed with Harvey Phillips and his Tuba Consort when we joined the Canadian Brass in a Christmas concert at Carnegie Hall. I arranged a piccolo descant trumpet part for Fred that he played with the tuba group. We also worked together in Cordoba Argentina in 2006.<br> <br> Linares Rodriguez was a member of the La Armonica Band of Buñol. After he retired from playing, hebecame the manager for the society’s buildings. When I first lived in Buñol in 1996 we became goodfriends and sometimes took walking excursions together.<br> <br> Bill Maloof was my first boss as he was Chair of Composition during my first ten years as a facultymember at Berklee College of Music in Boston.<br> <br> Nedo Pandolfi was considered a great musical force in Rhode Island. His last concert with the Rhode Island Philharmonic Orchestra in 1983 was my first performance with the orchestra. At that time heplayed French Horn but his original instrument was trumpet.<br> <br> Year of the Trumpeter was premiered March 8, 2014 by Antonio Cambres Rodriguez and the CIM La Armonica, David Fiuza, Conductor in Buñol (Valencia), Spain. The version for trumpet and piano was premiered in Magallon, Spain, July 2017 by Antonio Cambres with the composer playing piano. The band version was recorded by Cambres and the CIM La Armonica, David Fiuza, Conductor. It is on the CD Music for Wind Orchestraon La Armonica Records.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.<br> <br> He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$15.00
13.72 €
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Trompette, Piano
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Gregory Fritze
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The Year of the Trumpeter
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Musica Nova USA
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SheetMusicPlus
The Unquiet Grave from American Death Ballads (Downloadable)
Voix haute
High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Comp…
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High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50
3.2 €
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Voix haute
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David Conte
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The Unquiet Grave from American Death Ballads
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Largo from Symphony No.9 ("From the New World") (Dvorak) - Theme for Solo Piano (Transposed/Easier Key)
Piano Facile
Composed by Antonin Dvorak (1841-1904). Arranged by Rob Bushnell. Romantic Period, Spir…
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Composed by Antonin Dvorak (1841-1904). Arranged by Rob Bushnell. Romantic Period, Spiritual, TV, Native American. Piano Reduction, Sheet Music Single. 2 pages. Published by RBMusic
This arrangement is not in the original key to make it easier to play. A version in the original key is available here: S0.373007. The Czech composer Antonín Dvoand#345;ák became the director of theNational Conservatory of Music in New York City in 1892 (a post he helduntil 1895). Whilst in North America, he became fascinated by Native Americanmusic and the African-American spirituals that he heard. After a commission in1893 from the New York Philharmonic, he wrote the Symphony No. 9 in E minor,"From the New World", also known as the ?New World? Symphony ? not onlyhis most famous symphony but one of the most popular symphonies of all time. The second movement (Largo) features the famous cor anglaissolo, arranged here for solo piano. It was famously used in a British advert for the bread-brandHovis and was adapted into the spiritual-like song ?Goin? Home? by one ofDvoand#345;ák's pupils in 1922. Dvoand#345;ák explained the Native-American influences in the symphonyin an article published by the New York Herald: ?I have not actually used anyof the [Native American] melodies. I have simply written original themesembodying the peculiarities of the Indian music, and, using these themes assubjects, have developed them with all the resources of modern rhythms,counterpoint, and orchestral colour.? A recording of the ?New World? Symphony was taken along on theApollo 11 mission by Neil Armstrong in 1969.This arrangement is not in the original key to make it easier to play. A version in the original key is available here: S0.373007.
The Czech composer Antonín Dvoand#345;ák became the director of theNational Conservatory of Music in New York City in 1892 (a post he helduntil 1895). Whilst in North America, he became fascinated by Native Americanmusic and the African-American spirituals that he heard. After a commission in1893 from the New York Philharmonic, he wrote the Symphony No. 9 in E minor,"From the New World", also known as the ?New World? Symphony ? not onlyhis most famous symphony but one of the most popular symphonies of all time.
The second movement (Largo) features the famous cor anglaissolo, arranged here for solo piano. It was famously used in a British advert for the bread-brandHovis and was adapted into the spiritual-like song ?Goin? Home? by one ofDvoand#345;ák's pupils in 1922.
Dvoand#345;ák explained the Native-American influences in the symphonyin an article published by the New York Herald: ?I have not actually used anyof the [Native American] melodies. I have simply written original themesembodying the peculiarities of the Indian music, and, using these themes assubjects, have developed them with all the resources of modern rhythms,counterpoint, and orchestral colour.?
A recording of the ?New World? Symphony was taken along on theApollo 11 mission by Neil Armstrong in 1969.
$6.50
5.95 €
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Piano Facile
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Antonin Dvorak (1841-1904)
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Rob Bushnell
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Largo from Symphony No.9
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RBMusic
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SheetMusicPlus
America the Beautiful
Piano seul
Piano Solo - Intermediate - Digital Download Composed by Samuel Ward. Arranged by Marcia…
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Piano Solo - Intermediate - Digital Download Composed by Samuel Ward. Arranged by Marcia Wells. Sacred, Fourth of July, Patriotic, Old-time, Americana. Individual Part. 3 pages. Published by Piano Girl Publishing
Item Number: S0.816165 This arrangment of America the Beautiful by Marcia Wells is for piano solo and contains 2 complete verses. Verse 1 is in the key of Bb major, then a short transition to the second verse in C major. Difficulty is intermediate. Performance time is 2 minutes. The complete song can be heard in the attached YouTube link. For additional patriotic solos, other solos and duets, please visit http://www.marciawellspiano.com/Item Number: S0.816165
This arrangment of America the Beautiful by Marcia Wells is for piano solo and contains 2 complete verses. Verse 1 is in the key of Bb major, then a short transition to the second verse in C major. Difficulty is intermediate. Performance time is 2 minutes. The complete song can be heard in the attached YouTube link. For additional patriotic solos, other solos and duets, please visit http://www.marciawellspiano.com/
$4.99
4.56 €
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Piano seul
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Samuel Ward
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Marcia Wells
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America the Beautiful
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Piano Girl Publishing
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SheetMusicPlus
Misty - Piano Solo
Piano seul
Piano Solo - Intermediate - Digital Download By Erroll Garner. Arranged by Mario Stal…
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Piano Solo - Intermediate - Digital Download By Erroll Garner. Arranged by Mario Stallbaumer. 2 pages. Published by Mario Stallbaumer
Here's how to play the famous jazz standard "Misty" on piano!<br> <br> "Misty" was composed in 1954 by American jazz pianist Erroll Garner (1923-1977), Johnny Burke later added lyrics to the song.<br> <br> With this piano sheet music, you can play "Misty" in an arrangement which is not too hard to play, and sounds beautiful!<br> <br> The whole melody is included in the piano arrangement, so it makes for a beautiful instrumental (piano solo) version.<br> <br> "Misty" has been recorded by countless famous artists, including Johnny Mathis, Ella Fitzgerald, Aretha Franklin, Frank Sinatra, Sarah Vaughan, Ray Stevens, Count Basie, Bing Crosby, and many others.<br> <br> Time for you to play "Misty" as well!Here's how to play the famous jazz standard "Misty" on piano!<br> <br> "Misty" was composed in 1954 by American jazz pianist Erroll Garner (1923-1977), Johnny Burke later added lyrics to the song.<br> <br> With this piano sheet music, you can play "Misty" in an arrangement which is not too hard to play, and sounds beautiful!<br> <br> The whole melody is included in the piano arrangement, so it makes for a beautiful instrumental (piano solo) version.<br> <br> "Misty" has been recorded by countless famous artists, including Johnny Mathis, Ella Fitzgerald, Aretha Franklin, Frank Sinatra, Sarah Vaughan, Ray Stevens, Count Basie, Bing Crosby, and many others.<br> <br> Time for you to play "Misty" as well!
$4.99
4.56 €
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Piano seul
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Erroll Garner
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Mario Stallbaumer
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Misty - Piano Solo
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Mario Stallbaumer
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SheetMusicPlus
La Llorona (for Solo Piano)
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Arranged by Eric Lagergren. C…
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Piano Solo - Advanced Intermediate - Digital Download Arranged by Eric Lagergren. Contemporary Classical, Post- Romantic, Folk, Latin, Halloween. Score. 5 pages. Published by Tutti Vireo
Arranged by Eric Lagergren (ASCAP), Published by Tutti Vireo Publishing (ASCAP); 5 pages; <br> -<br> This is a piano arrangement of the popular Mexican folk song, La Llorona, which tells the story of a woman who drowned herself and her children and whose spirit wanders around Latin America searching for their souls so she may enter heaven.Arranged by Eric Lagergren (ASCAP), Published by Tutti Vireo Publishing (ASCAP); 5 pages; <br> -<br> This is a piano arrangement of the popular Mexican folk song, La Llorona, which tells the story of a woman who drowned herself and her children and whose spirit wanders around Latin America searching for their souls so she may enter heaven.
$15.00
13.72 €
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Piano seul
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Eric Lagergren
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La Llorona
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Tutti Vireo
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SheetMusicPlus
You're a Grand Old Flag, piano solo
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by George M. Cohan (1878…
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Piano Solo - Advanced Intermediate - Digital Download Composed by George M. Cohan (1878-1942). Arranged by Amy J. Snyder. Musicals, Movies, Fourth of July, Recital, Patriotic. Sheet Music Single. 4 pages. Published by Amy J. Snyder
"You're a Grand Old Flag" is an American standard for patriotic songs.It was featured in the 1942 movie, "Yankee Doodle Dandy" starring James Cagney. This arrangement is for advanced intermediate piano solo, and is sure to get some hands clapping and toes tapping! It includes tremolo, staccato, voicing, helpful fingering, and bouncy bass octaves. Perfect for patriotic events, assisted living entertainment, and recitals. Written by George M. Cohan; arranged by Amy J. Snyder. Visit Amy at: https://www.facebook.com/amyjsnyder7/. God Bless America, America the Beautiful, My Country 'Tis of Thee, Yankee Doodle Dandy, God Bless the U.S.A., O Say Can You See, The Battle Hymn, The Washington Post, and The Stars and Stripes Forever."You're a Grand Old Flag" is an American standard for patriotic songs.It was featured in the 1942 movie, "Yankee Doodle Dandy" starring James Cagney. This arrangement is for advanced intermediate piano solo, and is sure to get some hands clapping and toes tapping! It includes tremolo, staccato, voicing, helpful fingering, and bouncy bass octaves. Perfect for patriotic events, assisted living entertainment, and recitals. Written by George M. Cohan; arranged by Amy J. Snyder. Visit Amy at: https://www.facebook.com/amyjsnyder7/. God Bless America, America the Beautiful, My Country 'Tis of Thee, Yankee Doodle Dandy, God Bless the U.S.A., O Say Can You See, The Battle Hymn, The Washington Post, and The Stars and Stripes Forever.
$4.25
3.89 €
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Piano seul
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George M
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Amy J
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You're a Grand Old Flag, piano solo
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Amy J. Snyder
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SheetMusicPlus
America The Beautiful - Easy Beginner Piano (with lyrics and chords)
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1387089 Composed by Katherine Lee B…
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Easy Piano - Level 1 - Digital Download SKU: A0.1387089 Composed by Katherine Lee Bates and Samuel A Ward. Arranged by Valdir Maia. Patriotic,Traditional. Score. 2 pages. Valdir Maia #970995. Published by Valdir Maia (A0.1387089). America The Beautiful Easy Beginner Piano Sheet MusicDescription: Embark on a musical journey through the heart of America with our easy beginner piano sheet music rendition of America The Beautiful. Tailored for budding pianists and enthusiasts alike, this arrangement features simplified notation, chords, and lyrics, making it accessible to beginners of all ages.With clear chord symbols and straightforward melody lines, learners can quickly grasp the essence of this iconic patriotic anthem. Each note is carefully selected to ensure a smooth and enjoyable playing experience, allowing beginners to build confidence and skill as they explore the beauty of this timeless melody.Whether you're a novice pianist looking to master a patriotic classic or an educator seeking engaging materials for students, our easy beginner piano sheet music offers a perfect entry point. Choose the key that best suits your preferences and skill level, and dive into the rich harmonies and stirring lyrics that embody the spirit of America.For those eager to delve deeper into their musical journey, be sure to explore our extensive catalogue for a diverse range of sheet music options. Additionally, visit our YouTube page at www.youtube.com/@easysheetmusic for tutorials, demonstrations, and further resources to support your learning experience.Experience the joy of playing America The Beautiful on the piano and join countless others in celebrating the beauty and majesty of the United States through music.  Â
$3.99
3.65 €
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Piano Facile
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Katherine Lee Bates and Samuel A Ward
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Valdir Maia
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America The Beautiful - Easy Beginner Piano
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Valdir Maia
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SheetMusicPlus
America The Beautiful - Easy Piano (with lyrics and chords)
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1387090 Composed by Katherine Lee B…
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Easy Piano - Level 1 - Digital Download SKU: A0.1387090 Composed by Katherine Lee Bates and Samuel A Ward. Arranged by Valdir Maia. Patriotic,Traditional. Score. 2 pages. Valdir Maia #971000. Published by Valdir Maia (A0.1387090). America The Beautiful Easy Beginner Piano Sheet MusicDescription: Embark on a musical journey through the heart of America with our easy beginner piano sheet music rendition of America The Beautiful. Tailored for budding pianists and enthusiasts alike, this arrangement features simplified notation, chords, and lyrics, making it accessible to beginners of all ages.With clear chord symbols and straightforward melody lines, learners can quickly grasp the essence of this iconic patriotic anthem. Each note is carefully selected to ensure a smooth and enjoyable playing experience, allowing beginners to build confidence and skill as they explore the beauty of this timeless melody.Whether you're a novice pianist looking to master a patriotic classic or an educator seeking engaging materials for students, our easy beginner piano sheet music offers a perfect entry point. Choose the key that best suits your preferences and skill level, and dive into the rich harmonies and stirring lyrics that embody the spirit of America.For those eager to delve deeper into their musical journey, be sure to explore our extensive catalogue for a diverse range of sheet music options. Additionally, visit our YouTube page at www.youtube.com/@easysheetmusic for tutorials, demonstrations, and further resources to support your learning experience.Experience the joy of playing America The Beautiful on the piano and join countless others in celebrating the beauty and majesty of the United States through music.  Â
$3.99
3.65 €
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Piano Facile
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Katherine Lee Bates and Samuel A Ward
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Valdir Maia
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America The Beautiful - Easy Piano
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Valdir Maia
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SheetMusicPlus
The Stars and Stripes Forever, Intermediate piano solo, C Major
Piano seul
Piano Solo - Intermediate - Digital Download Composed by John Philip Sousa (1854-1932…
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Piano Solo - Intermediate - Digital Download Composed by John Philip Sousa (1854-1932). Arranged by Amy J. Snyder. Repertoire, Fourth of July, Recital, Patriotic, Americana. Sheet Music Single. 7 pages. Published by Amy J. Snyder
The Stars and Stripes Forever, patriotic march written by John Philip Sousa is a must for every 4th of July celebration! This arrangement is for intermediate level piano solo but follows the same style as the original 1897 version. The key has been changed to the key of C Major for easier playing. It is simplified a bit by eliminating the octaves and 4-note chords, but maintaining a satisfying blend of melody and accompaniment. Lots of helpful fingering, and expression marks. Great for patriotic events and recitals. Arranged by Amy J. Snyder. Visit Amy at https://www.facebook.com/amyjsnyder7. If you enjoy this piece, you may also enjoy Amy's intermediate arrangement of America the Beautiful , and slightly more challenging advanced intermediate arrangements of Yankee Doodle Dandy, God Bless the U.S.A., God Bless America, You're a Grand Old Flag, My Country 'Tis of Thee/America the Beautiful, The Battle Hymn of the Republic, O Say Can You See, America the Beautiful, and The Washington Post.The Stars and Stripes Forever, patriotic march written by John Philip Sousa is a must for every 4th of July celebration! This arrangement is for intermediate level piano solo but follows the same style as the original 1897 version. The key has been changed to the key of C Major for easier playing. It is simplified a bit by eliminating the octaves and 4-note chords, but maintaining a satisfying blend of melody and accompaniment. Lots of helpful fingering, and expression marks. Great for patriotic events and recitals. Arranged by Amy J. Snyder. Visit Amy at https://www.facebook.com/amyjsnyder7. If you enjoy this piece, you may also enjoy Amy's intermediate arrangement of America the Beautiful , and slightly more challenging advanced intermediate arrangements of Yankee Doodle Dandy, God Bless the U.S.A., God Bless America, You're a Grand Old Flag, My Country 'Tis of Thee/America the Beautiful, The Battle Hymn of the Republic, O Say Can You See, America the Beautiful, and The Washington Post.
$5.25
4.8 €
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Piano seul
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John Philip Sousa (1854-1932)
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Amy J
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The Stars and Stripes Forever, Intermediate piano solo, C Major
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Amy J. Snyder
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SheetMusicPlus
America the Beautiful - Piano and Organ Duet
Orgue, Piano (duo)
Piano Solo, Organ - Advanced Intermediate - Digital Download Composed by Samuel Ward. A…
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Piano Solo, Organ - Advanced Intermediate - Digital Download Composed by Samuel Ward. Arranged by James Michael Stevens. Post-Romantic, Sacred, Thanksgiving, Patriotic, Americana. Sheet Music Single. 16 pages. Published by James M Stevens Music ASCAP
This is an original arrangement of the classic patriotic hymn, \"America the Beautiful,\" for piano and organ. Along with the score there are separate piano and organ parts included. Also, there are versions available by Stevens on Sheet Music Plus for violin, flute and trumpet which will also work with this arrangement. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College. https://youtu.be/SMnsPMsCj6wThis is an original arrangement of the classic patriotic hymn, \"America the Beautiful,\" for piano and organ. Along with the score there are separate piano and organ parts included. Also, there are versions available by Stevens on Sheet Music Plus for violin, flute and trumpet which will also work with this arrangement. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College. https://youtu.be/SMnsPMsCj6w
$9.99
9.14 €
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Orgue, Piano (duo)
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Samuel Ward
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James Michael Stevens
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America the Beautiful - Piano and Organ Duet
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James M Stevens Music ASCAP
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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)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
21.94 €
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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
Oh Shenandoah (for alto saxophone and piano)
Saxophone Alto et Piano
Composed by Traditional. Arranged by Colin Kirkpatrick. Folk, Fourth of July, Annive…
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Composed by Traditional. Arranged by Colin Kirkpatrick. Folk, Fourth of July, Anniversary, Wedding, Americana. Set of Parts. 9 pages. Published by Colin Kirkpatrick Publications
This beautiful song is one of the most popular American folk songs, evoking images of the river life of yesteryear. It is sure to be a popular addition to your saxophone recital, or it would make an excellent encore piece. The top note is D (written) above the treble staff and the duration is 03:55.<br> <br> As with most folk songs, there are many different versions of Shenandoah, and it’s impossible to determine the song’s exact provenance with any degree of certainty. It probably has its origins among the French Canadians who traded with Native Americans around the Great Lakes during the sixteenth century. In most versions of the song, the lyrics tell of a seafarer, possibly a canoeing fur-trader, who was in love with the daughter of Shenandoah, a Native American Chief who lived in what is now the state of Virginia. Shenandoah was a real person: an individual of commanding presence who lived for over a hundred years. <br> <br> Sailors heading down the Mississippi picked up the song and made it a capstan shanty, which they sang while hauling in the anchor. By the mid-1800s versions of the song were heard almost everywhere the clipper ships ventured. Shenandoah was one of the most popular capstan shanties, a slow song which set a manageable pace for the crew in a heavy and lengthy task. Add this lovely American song to your repertoire today!This beautiful song is one of the most popular American folk songs, evoking images of the river life of yesteryear. It is sure to be a popular addition to your saxophone recital, or it would make an excellent encore piece. The top note is D (written) above the treble staff and the duration is 03:55.<br> <br> As with most folk songs, there are many different versions of Shenandoah, and it’s impossible to determine the song’s exact provenance with any degree of certainty. It probably has its origins among the French Canadians who traded with Native Americans around the Great Lakes during the sixteenth century. In most versions of the song, the lyrics tell of a seafarer, possibly a canoeing fur-trader, who was in love with the daughter of Shenandoah, a Native American Chief who lived in what is now the state of Virginia. Shenandoah was a real person: an individual of commanding presence who lived for over a hundred years. <br> <br> Sailors heading down the Mississippi picked up the song and made it a capstan shanty, which they sang while hauling in the anchor. By the mid-1800s versions of the song were heard almost everywhere the clipper ships ventured. Shenandoah was one of the most popular capstan shanties, a slow song which set a manageable pace for the crew in a heavy and lengthy task. Add this lovely American song to your repertoire today!
$6.99
6.39 €
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Saxophone Alto et Piano
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Traditional
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Colin Kirkpatrick
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Oh Shenandoah
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Colin Kirkpatrick Publications
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SheetMusicPlus
Tchaikovsky: Scene 10 from Swan Lake for Bass Clarinet & Piano
Clarinette Basse, Piano
Bass Clarinet & Piano - Intermediate - Digital Download Composed by Peter Ilyich …
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Bass Clarinet & Piano - Intermediate - Digital Download Composed by Peter Ilyich Tchaikovsky (1840-1893). Arranged by James M. Guthrie, ASCAP. Romantic Period, Repertoire, Technique Training, Recital. Score, Set of Parts. 16 pages. Published by jmsgu3
Duration: 2:30, score: 8 pages, solo part: 2 pages, piano part: 5 pages. A well-known favorite masterpiece suitable for a recital or school program.<br> <br> Pyotr Ilyich Tchaikovsky<br> Tchaikovsky is probably the most popular of thegreat composers in America. His music certainly appeals to musicians. Likewise,it appeals even to folks who don’t normally listen to serious music. This isprobably because of his most noteworthy melodies. Above all, he writes withgreat emotion. This certainly makes a most noteworthy if not an unforgettableimpact.<br> <br> Education<br> First of all, He attended classes at the RussianMusical Society. Even more, He also attended the St. PetersburgConservatory. There he studied music theory with Nikolai Zaremba. He alsoconsequently studied composition with Anton Rubenstein. It seems likeRubenstein came under criticism from a group of Russian composers known as “theFive.”<br> <br> The Five<br> The Five certainly rejected Western musicalinfluences. They rather sought to use elements from Russian music. Theyfurthermore wanted to use more exotic musical materials.<br> <br> Western Techniques<br> More than other Russian composers, Tchaikovskystudied modern Western music. He certainly develops his music like the Europeanmasters. So, rather than repeating a motive, he moves to a new key. He thenintroduces a different theme in the new key. Hence, he maintained hisindependence from “the Five.” Even more, he became the first Russian composerof international stature.<br> <br> Influences<br> Tchaikovsky was probably influenced in his balletscoring by Léo Delibes. Richard Wagner influenced his symphonic writing.Tchaikovsky’s most famous works include the 1812 Overture, The Nutcracker Suite,and Swan Lake. Also famous are the Violin Concerto in D and the six symphonies.The greatest of the six symphonies may be No. 6, the “Pathétique.”<br> <br> Swan Lake Op. 20<br> Tchaikovsky composed Swan Lake in 1875-76. To beginwith, most noteworthy the ballet failed to attract a positive reception. Overtime, however, the ballet became probably one of the most popular of all ofTchaikovsky’s works. The ballet was certainly first performed by the BolshoiBallet in Moscow.<br> <br> Register for free lifetime updates and revisions of this product at www.jamesguthrie.comDuration: 2:30, score: 8 pages, solo part: 2 pages, piano part: 5 pages. A well-known favorite masterpiece suitable for a recital or school program.<br> <br> Pyotr Ilyich Tchaikovsky<br> Tchaikovsky is probably the most popular of thegreat composers in America. His music certainly appeals to musicians. Likewise,it appeals even to folks who don’t normally listen to serious music. This isprobably because of his most noteworthy melodies. Above all, he writes withgreat emotion. This certainly makes a most noteworthy if not an unforgettableimpact.<br> <br> Education<br> First of all, He attended classes at the RussianMusical Society. Even more, He also attended the St. PetersburgConservatory. There he studied music theory with Nikolai Zaremba. He alsoconsequently studied composition with Anton Rubenstein. It seems likeRubenstein came under criticism from a group of Russian composers known as “theFive.”<br> <br> The Five<br> The Five certainly rejected Western musicalinfluences. They rather sought to use elements from Russian music. Theyfurthermore wanted to use more exotic musical materials.<br> <br> Western Techniques<br> More than other Russian composers, Tchaikovskystudied modern Western music. He certainly develops his music like the Europeanmasters. So, rather than repeating a motive, he moves to a new key. He thenintroduces a different theme in the new key. Hence, he maintained hisindependence from “the Five.” Even more, he became the first Russian composerof international stature.<br> <br> Influences<br> Tchaikovsky was probably influenced in his balletscoring by Léo Delibes. Richard Wagner influenced his symphonic writing.Tchaikovsky’s most famous works include the 1812 Overture, The Nutcracker Suite,and Swan Lake. Also famous are the Violin Concerto in D and the six symphonies.The greatest of the six symphonies may be No. 6, the “Pathétique.”<br> <br> Swan Lake Op. 20<br> Tchaikovsky composed Swan Lake in 1875-76. To beginwith, most noteworthy the ballet failed to attract a positive reception. Overtime, however, the ballet became probably one of the most popular of all ofTchaikovsky’s works. The ballet was certainly first performed by the BolshoiBallet in Moscow.<br> <br> Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$32.95
30.14 €
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Clarinette Basse, Piano
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Peter Ilyich Tchaikovsky
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James M
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Tchaikovsky: Scene 10 from Swan Lake for Bass Clarinet & Piano
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SheetMusicPlus
America, The Beautiful-Later Elementary
Piano Facile
Piano Solo, Easy Piano - Easy/Beginner - Digital Download Composed by Katherine Lee …
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Piano Solo, Easy Piano - Easy/Beginner - Digital Download Composed by Katherine Lee Bates And Samuel A. Ward. Arranged by Phil Hamm. Christian, Repertoire, Fourth of July, Recital, Patriotic. Individual Part, Sheet Music Single. 3 pages. Published by Phil Hamm
This is a very easy arrangement of an American patriotic favorite. It is arranged for the later elementary pianist and is suitable for piano lessons, recitals or anywhere an audience would like to hear "America, The Beautiful".This is a very easy arrangement of an American patriotic favorite. It is arranged for the later elementary pianist and is suitable for piano lessons, recitals or anywhere an audience would like to hear "America, The Beautiful".
$1.99
1.82 €
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Piano Facile
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Katherine Lee Bates And Samuel A
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Phil Hamm
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America, The Beautiful-Later Elementary
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Phil Hamm
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SheetMusicPlus
America, The Beautiful
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1045873 Composed by Samuel Ward. Ar…
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Easy Piano - Level 1 - Digital Download SKU: A0.1045873 Composed by Samuel Ward. Arranged by Henrique F Mangoni. Children,Instructional,Patriotic,Traditional. Score. 2 pages. Henrique Franke Mangoni #650443. Published by Henrique Franke Mangoni (A0.1045873). Celebrate Independence Day with music! America, The Beautiful, one of the best 4th of July songs for a patriotic holiday. Eternalized by the powerful voice of Ray Charles, this song is arranged for easy piano with chords, perfect for beginners, children and preschoolers! - Check out my collection 4th of July for Beginners: six patriotic songs arranged for easy piano, wich includes America, The Beautiful and others traditional 4th of july songs! - Subscribe to my YouTube channel (Henrique F Mangoni) to know more about my work! - 4th of july music, 4th of july songs, fourth of july songs, best 4th of july songs, children's 4th of july songs, best fourth of july songs, fourth of july music, fourth of july piano sheet music, 4th of july songs preschool, top july 4th songs, 4th of july sheet music.
$4.99
4.56 €
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Piano Facile
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Samuel Ward
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Henrique F Mangoni
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America, The Beautiful
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Henrique Franke Mangoni
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SheetMusicPlus
Hurrah! Hurrah! For America
Piano, Voix
Piano and voice - Digital Download SKU: LV.14009 Composed by Howard Clifton. Angels…
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Piano and voice - Digital Download SKU: LV.14009 Composed by Howard Clifton. Angels, Jugglers, Horseback riding, Native Americans, Composers, Portraits, Fictitious characters, Fantasies, Patriotism. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.14009). Howard Clifton's Latest Song. Hurrah! Hurrah! For America. Composed by Howard Clifton. Published 1877 by F.W. Helmick, NO.50 West Fourth Street in Cincinnati, O. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Angels, Jugglers, Horseback riding, Native Americans, Composers, Portraits, Fictitious characters, Fantasies, Patriotism. First line reads The new world is our home, And freemen all are we.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.48 €
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Piano, Voix
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Howard Clifton
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Hurrah! Hurrah! For America
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
National Songs of America. Land of Washington
Piano, Voix
Piano and voice - Digital Download SKU: LV.18668 Arranged by Francis H. Brown. Camp…
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Piano and voice - Digital Download SKU: LV.18668 Arranged by Francis H. Brown. Campaigns & battles, Farming, United States Capitol, National Emblems, Native Americans, Patriotism. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.18668). National Songs of America. Land of Washington. Arranged for the Piano Forte By Francis H. Brown. Published 1856 by Oliver Ditson, 115 Washington St. in Boston. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Campaigns & battles, Farming, United States Capitol, National Emblems, Native Americans, Patriotism. First line reads I love the patriot sages, Who in the days of yore.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.48 €
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Piano, Voix
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Francis H
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Francis H
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National Songs of America. Land of Washington
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Amazing Grace - Easy Piano
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1314346 By John Newton. By Traditio…
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Easy Piano - Level 1 - Digital Download SKU: A0.1314346 By John Newton. By Traditional American Melody. Arranged by Alex E. Christian,Classical,Multicultural,Sacred,Traditional,World. Score. 4 pages. Müller Publishing company #903090. Published by Müller Publishing company (A0.1314346). Unlock the gentle harmonies of 'Amazing Grace' with our Easy Piano sheet music, specially crafted for beginner pianists. This timeless melody, with music composed by John Newton, a former slave trader turned Christian, and lyrics penned by him in 1772, comes to life with an accessible arrangement designed for those embarking on their musical journey.Featuring simplified notes written for both left and right hands in the bass clef, you'll find this sheet music incredibly user-friendly and engaging. 'Amazing Grace' is one of the world's most beloved songs, renowned for its message of redemption and hope.This is the perfect opportunity to master this classic melody while honing your piano skills. Get your 'Amazing Grace' Easy Piano sheet music now and start playing this heart-touching song. Whether you're a beginner or an evolving musician, this sheet music will add beauty and depth to your musical journey.
$1.99
1.82 €
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Piano Facile
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John Newton
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Alex E
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Amazing Grace - Easy Piano
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Müller Publishing company
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SheetMusicPlus
Solemn Meditation on a Theme by Irving Berlin (God Bless America ®)
Piano seul
Piano Solo - Intermediate - Digital Download By Celine Dion. Arranged by David Neff. …
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Piano Solo - Intermediate - Digital Download By Celine Dion. Arranged by David Neff. Sheet Music Single. 2 pages. Published by David Neff
This solemn meditation is based on Irving Berlin's "God Bless America," which he conceived as a peace song. He revised and heavily promoted it in the impending gloom before America entered World War II, and it reflects his gratitude as a Jewish refugee from Russian persecution for a free nation that allowed him to rise from poverty to prominence. This arrangement was conceived as a Memorial Day tribute to fallen and wounded warriors. It is solemn and reflective, rather than boisterous and exuberant. Use it in connection with any national holiday.This solemn meditation is based on Irving Berlin's "God Bless America," which he conceived as a peace song. He revised and heavily promoted it in the impending gloom before America entered World War II, and it reflects his gratitude as a Jewish refugee from Russian persecution for a free nation that allowed him to rise from poverty to prominence. This arrangement was conceived as a Memorial Day tribute to fallen and wounded warriors. It is solemn and reflective, rather than boisterous and exuberant. Use it in connection with any national holiday.
$4.99
4.56 €
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Piano seul
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Celine Dion
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David Neff
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Solemn Meditation on a Theme by Irving Berlin
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David Neff
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SheetMusicPlus
Con-Tse-To
Saxophone Alto et Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Post-Modern, Jazz, …
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Post-Modern, Jazz, Bebop. Piano Reduction, Solo Part. 44 pages. Published by Musica Nova USA
Con-Tse-To – a Concerto for Alto Saxophone and Concert Band was composed in 2013 at the request of Kenneth Tse. It is in three movements – 1. Pasodoble Melanie, 2. Lamento and 3. Danza Jubiloso. First performance was July 14, 2013 for the Hong Kong International Saxophone Symposium at the Hong Kong Academy for Performing Arts. Hong Kong Chamber Wind Philharmonic; Victor Tam, Conductor; Kenneth Tse, Saxophone Soloist.<br> <br> The first movement – Pasodoble Melanie, is in the traditional form of the march in Spain knownas the Pasodoble. It has a beginning theme in traditional march style using Spanish flavor harmoniesand melodies. As the Spanish pasodoble is in the same form as American marches, the second theme isthe “Trio” section. In the Spanish pasodoble, it is customary to have the first presentation of this secondtheme played extremely softly in the clarinets. It is also common during the repeat of the Trio to have a soloist such as a piccolo displaying an obligato of great virtuosic melodies in counterpoint to the clarinets. I felt this would be a very appropriate place for an alto saxophone obligato. In this pasodoble the thirdpresentation of the Trio is shortened to allow for the first cadenza. Since I met Kenneth Tse for the first time in Buñol (Valencia), Spain, I thought it would be very appropriate to use this traditional form for the firstmovement for his concerto. It is a Spanish custom for a composer to give a pasodoble composition as a gift such as to a musician or politician and the title of the piece often references the name of recipient’s wife. Kenneth Tse’s wife’s name is Melanie so this movement is dedicated to her.<br> <br> The second movement – Lamento was adapted from a melody of mine “El año del Trumpetista” originally composed in 2010. I thought the beautiful sound of Dr. Tse’s saxophone playing would be very complimentary for this melody.<br> <br> The third movement – Danza Jubiloso is in allegro tempo with the first theme based on leaps of afourth and an octave in duple meter. The second theme is mostly in 7/8 meter. There is also a bit of a jazz element of harmonies and the added instruments of a drum set and jazz double bass in pizzicato.<br> <br> Con-Tse-To was awarded Finalist category in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. The full band instrumentation is available on Musica Nova USA.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamberensembles and soloists. He has won over fifty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.<br> <br> His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.<br> <br> The piano transcription was done by Derek Remeš.Con-Tse-To – a Concerto for Alto Saxophone and Concert Band was composed in 2013 at the request of Kenneth Tse. It is in three movements – 1. Pasodoble Melanie, 2. Lamento and 3. Danza Jubiloso. First performance was July 14, 2013 for the Hong Kong International Saxophone Symposium at the Hong Kong Academy for Performing Arts. Hong Kong Chamber Wind Philharmonic; Victor Tam, Conductor; Kenneth Tse, Saxophone Soloist.<br> <br> The first movement – Pasodoble Melanie, is in the traditional form of the march in Spain knownas the Pasodoble. It has a beginning theme in traditional march style using Spanish flavor harmoniesand melodies. As the Spanish pasodoble is in the same form as American marches, the second theme isthe “Trio” section. In the Spanish pasodoble, it is customary to have the first presentation of this secondtheme played extremely softly in the clarinets. It is also common during the repeat of the Trio to have a soloist such as a piccolo displaying an obligato of great virtuosic melodies in counterpoint to the clarinets. I felt this would be a very appropriate place for an alto saxophone obligato. In this pasodoble the thirdpresentation of the Trio is shortened to allow for the first cadenza. Since I met Kenneth Tse for the first time in Buñol (Valencia), Spain, I thought it would be very appropriate to use this traditional form for the firstmovement for his concerto. It is a Spanish custom for a composer to give a pasodoble composition as a gift such as to a musician or politician and the title of the piece often references the name of recipient’s wife. Kenneth Tse’s wife’s name is Melanie so this movement is dedicated to her.<br> <br> The second movement – Lamento was adapted from a melody of mine “El año del Trumpetista” originally composed in 2010. I thought the beautiful sound of Dr. Tse’s saxophone playing would be very complimentary for this melody.<br> <br> The third movement – Danza Jubiloso is in allegro tempo with the first theme based on leaps of afourth and an octave in duple meter. The second theme is mostly in 7/8 meter. There is also a bit of a jazz element of harmonies and the added instruments of a drum set and jazz double bass in pizzicato.<br> <br> Con-Tse-To was awarded Finalist category in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. The full band instrumentation is available on Musica Nova USA.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamberensembles and soloists. He has won over fifty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.<br> <br> His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.<br> <br> The piano transcription was done by Derek Remeš.
$20.00
18.29 €
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Saxophone Alto et Piano
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Gregory Fritze
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Con-Tse-To
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Musica Nova USA
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SheetMusicPlus
"The A-Team": Main Theme (Post and Carpenter) - Solo Piano
Piano seul
Piano Solo - Intermediate - Digital Download By Mike Post, Pete Carpenter. Arranged b…
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Piano Solo - Intermediate - Digital Download By Mike Post, Pete Carpenter. Arranged by Rob Bushnell. Individual Part, Piano Reduction, Set of Parts, Sheet Music Single, Solo Part. 2 pages. Published by RBMusic
The A-Team is an American television series that ran from 1983 to 1987. It opens with the infamous narration: ‘In 1972 a crack commando unit was sent to prison by a military court for a crime they didn't commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire the A-Team.’<br> <br> The show revolves around four members of the fictitious United States Army Special Forces unit. These are the leader Colonel/Colonel John "Hannibal" Smith (played by George Peppard), smooth-talking Lieutenant Templeton Peck or “Face” (Dirk Benedict), pilot Captain H.M. "Howling Mad" Murdock (Dwight Schultz) and mechanic Sergeant First Class Bosco "B.A." Baracus (Mr. T).<br> <br> The main theme was composed by Mike Post and Pete Carpenter, although the version they created was not the same as the theme heard on-screen (which is what this arrangement is of). The theme has been ranked among the best TV themes every written. Interesting, the French version of the theme has lyrics that mirror the spoken description of the English version of the show.<br> In 2010, 20th Century Fox released a feature film based on the series starring Liam Neeson, Bradley Cooper, Quinton Jackson and Sharlto Copley as the A-Team. Alan Silvestri composed the soundtrack.<br> A recording from the original soundtrack can be found on YouTube: https://www.youtube.com/watch?v=_MVonyVSQoM.The A-Team is an American television series that ran from 1983 to 1987. It opens with the infamous narration: ‘In 1972 a crack commando unit was sent to prison by a military court for a crime they didn't commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire the A-Team.’<br> <br> The show revolves around four members of the fictitious United States Army Special Forces unit. These are the leader Colonel/Colonel John "Hannibal" Smith (played by George Peppard), smooth-talking Lieutenant Templeton Peck or “Face” (Dirk Benedict), pilot Captain H.M. "Howling Mad" Murdock (Dwight Schultz) and mechanic Sergeant First Class Bosco "B.A." Baracus (Mr. T).<br> <br> The main theme was composed by Mike Post and Pete Carpenter, although the version they created was not the same as the theme heard on-screen (which is what this arrangement is of). The theme has been ranked among the best TV themes every written. Interesting, the French version of the theme has lyrics that mirror the spoken description of the English version of the show.<br> In 2010, 20th Century Fox released a feature film based on the series starring Liam Neeson, Bradley Cooper, Quinton Jackson and Sharlto Copley as the A-Team. Alan Silvestri composed the soundtrack.<br> A recording from the original soundtrack can be found on YouTube: https://www.youtube.com/watch?v=_MVonyVSQoM.
$5.97
5.46 €
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Piano seul
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Mike Post, Pete Carpenter
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Rob Bushnell
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"The A-Team": Main Theme
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RBMusic
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SheetMusicPlus
The Star-Spangled Banner: Piano Accompaniment
Accompagnement Piano
String Orchestra - Digital Download SKU: AX.00-PC-0016913_K Piano Accompaniment
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String Orchestra - Digital Download SKU: AX.00-PC-0016913_K Piano Accompaniment. Composed by John Stafford Smith. Arranged by Bob Phillips. Patriotic. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016913_K. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016913_K). UPC: 038081506784.Opening with America, this arrangement is designed to be playable and easy to put together with any level of players. Set in C major for the simplest fingerings and to remain in 1st position, this will sound great for young orchestra or go together easily for more advanced players. (1:20)Concert/Contest; Festival.
$5.99
5.48 €
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Accompagnement Piano
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John Stafford Smith
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Bob Phillips
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Festival.
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The Star-Spangled Banner: Piano Accompaniment
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Sous Les Magnolies (Under the Magnolias). Danse Americaine
Piano seul
Piano - Digital Download SKU: LV.9398 Composed by Fred. Baker. Children dancing, Af…
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Piano - Digital Download SKU: LV.9398 Composed by Fred. Baker. Children dancing, African Americans, Children & adults, Banjos. Lester S. Levy Collection. 6 pages. Published by Johns Hopkins University Sheridan Libraries (LV.9398). Sous Les Magnolies (Under the Magnolias). Danse Americaine. Par Fred. Baker. Published 1880 by F.A. North & Co., 1308 Chestnut St. in Philadelphia. Composition of with piano instrumentation. Subject headings for this piece include Children dancing, African Americans, Children & adults, Banjos. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.48 €
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Piano seul
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Fred
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Sous Les Magnolies
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
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