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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
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FILM - TV
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Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
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Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
37094
PIANO & CLAVIERS
Piano seul
69395
Piano, Voix et Guitare
24911
Piano, Voix
23352
Piano Facile
9104
Orgue
4102
Piano grosses notes
4037
Accordéon
2816
1 Piano, 4 mains
1701
Instruments en Do
1611
Accompagnement Piano
818
Piano (partie séparée)
396
Piano Trio: piano, violon, violoncelle
277
2 Pianos, 4 mains
202
Piano Quatuor: piano, violon, alto, violoncelle
96
Orgue, Trompette (duo)
71
Clavier
70
Piano Quintette: piano, 2 violons, alto, violoncelle
59
Orgue, Piano (duo)
47
Piano Quatuor: piano, 2 violons, violoncelle
46
Ligne De Mélodie, Piano
41
Clavecin
39
1 Piano, 6 mains
21
2 Pianos, 8 mains
15
Ensemble d'Accordéons
9
Accordéon, Voix
7
Instrument seul et Orgue
7
Tous Les Instruments
3
2 Accordéons
3
Orgue, Voix
3
Accordéon, Piano
1
Instrumentations suivantes
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GUITARES
Ligne De Mélodie, (Paroles) et Accords
16697
Guitare notes et tablatures
16215
Guitare
8630
Paroles et Accords
6648
Ukulele
5737
Basse electrique
4995
Guitare (partie séparée)
739
Banjo
436
Ensemble de guitares
370
2 Guitares (duo)
249
Dulcimer
231
Mandoline
222
Piano, Guitare (duo)
190
Ukulele Baryton
164
Ensemble de Ukulélés
99
4 Guitares (Quatuor)
84
Basse électrique (partie séparée)
78
3 Guitares (trio)
45
Dobro
32
2 Dulcimers (duo)
16
Mandoline, Piano (duo)
12
2 Ukuleles
11
Mandoline, Guitare (duo)
9
Guitare Pedal Steel
9
Partitions De Groupes
6
2 Mandolines (duo)
5
3 Dulcimers (trio)
4
Guitare, Violon, Violoncelle (trio)
4
Guitare Tab, Voix, Basse, Batterie
3
Guitare, Orchestre
2
Guitare, Flûte, Clarinette
2
Cithare
1
Luth
1
Instrumentations suivantes
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VOIX
Chorale SATB
16027
Chorale 3 parties
7789
Voix seule
6034
Chorale 2 parties
4900
Chorale
3996
Chorale TTBB
1961
Chorale Unison
1575
Chorale SSAA
1123
Voix duo, Piano
755
Voix haute
408
Voix Soprano, Piano
334
Voix duo
249
Voix basse, Piano
143
Voix Tenor, Piano
129
Voix Alto, Piano
110
Voix moyenne, Piano
72
Voix Mezzo-Soprano, Piano
70
Voix Baryton, Piano
59
Chorale SSATB
51
Chorale SSAATTBB
49
Voix Tenor
48
Voix Soprano
35
Voix d'Enfants
26
Chorale SSATTB
24
Soli, choeur mixte et accompagnement
16
Voix, Guitare
14
Chorale, Orgue
12
Voix basse
12
Voix Soprano, Orchestre
6
Chorale SAATB A Cappella
5
Chorale SSAB, Piano
5
Chorale SSAB a cappella
4
Male Voice
3
Chorale SATTB
2
Chorale SSATBB
2
Chorale SATBB
1
Chorale SSAATB
1
Chorale SATTBB A Cappella
1
Voix Baryton
1
Voix Moyenne
1
Instrumentations suivantes
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VENTS
Saxophone
16157
Flûte traversière
11372
Clarinette
10913
Saxophone Alto
4169
Saxophone (partie séparée)
3563
Saxophone Tenor
3367
Flûte traversière et Piano
3186
Quatuor de Saxophones: 4 saxophones
2201
Clarinette et Piano
2166
2 Saxophones (duo)
2008
Flûte, Hautbois, Clarinette, Basson
1806
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1731
Flûte à Bec
1661
Hautbois, Piano (duo)
1650
Saxophone Alto et Piano
1644
Hautbois
1204
Saxophone Tenor et Piano
1176
2 Flûtes traversières (duo)
1175
Quatuor de Clarinettes: 4 clarinettes
1120
2 Clarinettes (duo)
1061
Quintette de Saxophone: 5 saxophones
1017
Clarinette (partie séparée)
978
Saxophone Soprano et Piano
815
Saxophone Soprano
747
Hautbois (partie séparée)
650
Flute (partie séparée)
637
Quatuor de Flûtes : 4 flûtes
459
Saxophone Baryton, Piano
457
Flûte, Clarinette (duo)
431
Harmonica
428
2 Hautbois (duo)
383
Saxophone, Clarinette (duo)
371
Ocarina
362
2 Flûte à bec (duo)
346
Ensemble de Clarinettes
345
3 Saxophones (trio)
344
Clarinette, Violon (duo)
314
Ensemble de saxophones
314
3 Clarinettes (trio)
269
Hautbois, Basson (duo)
244
Quintette de Clarinettes: 5 clarinettes
242
Ensemble de Flûtes
240
Trio de Flûtes: 3 flûtes
239
Hautbois, Clarinette (duo)
237
Clarinette, Trompette (duo)
221
Cor anglais, Piano
208
Flûte, Violon
190
Flûte à bec Soprano
190
Quatuor de Flûtes à bec
168
Clarinette et Alto
158
Flûte et Guitare
141
Flûte, Alto (duo)
134
Flûte, Saxophone (duo)
133
Hautbois, Flûte
132
Clarinette, Basson (duo)
131
Saxophone Baryton
123
Clarinette Basse, Piano
122
Quintette de Flûte : 5 flûtes
116
Flûte, Violoncelle
109
Flûte, Trompette (duo)
105
Flûte, Hautbois, Clarinette (trio)
97
Clarinette, Violoncelle (duo)
94
Flûte à bec Alto
93
Cor Anglais
83
Flûte à bec Alto, Piano
77
Flûte, Hautbois (duo)
75
Clarinette Basse
74
Clarinette, Harpe (duo)
73
Flûte, Clarinette et Basson
73
Hautbois, Violoncelle
73
Instruments en Mib
73
2 Flûtes traversières, Piano
69
Ensemble De Flûte à bec
68
Flûte à bec Soprano, Piano
64
Hautbois, Clarinette, Basson (trio d'anches)
64
Flûte à Bec, Piano
61
Flûte, Violoncelle, Piano (trio)
55
5 Flûtes à bec
50
Flûte, Violon, Piano
48
3 Flûtes à bec (trio)
47
Clarinette, Guitare (duo)
45
Flûte irlandaise
45
Flûte à bec Tenor
44
Hautbois, violon (duo)
42
Flûte, Clarinette, Piano (trio)
41
Flûte, Hautbois, Basson
40
Piccolo
34
Clarinette, Violoncelle, Piano (trio)
32
2 Clarinettes, Piano
29
Flûte, Clarinette, Cor, Basson (Quartet)
28
Flûte, Violon et Violoncelle
28
Flûte, Basson et Piano
27
Piccolo, Piano
25
Hautbois et alto (duo)
24
2 Saxophones, Piano
23
Flûte, Hautbois, Piano (trio)
19
Saxophone et Harpe
17
Clarinette, Trombone (duo)
17
Hautbois, Harpe
17
Flûte, Alto et Piano
15
Saxophone et Orgue
15
Flûte, trombone et piano
14
Ensemble à vent
13
Flûte, Trombone (duo)
13
Flûte, Violon, Violoncelle et Piano
11
Flûte traversière, Basse continue
11
Flûte traversière, Orgue (duo)
11
Flûte, Harpe et Violoncelle
11
Hautbois, Guitare (duo)
10
Flute, harpe et violon
10
4 Hautbois
10
Clarinette, Contrebasse (duo)
10
Saxophone et Guitare
9
Clarinette, Basson, Piano (trio)
9
Clarinette, Alto et Piano (trio)
8
3 Hautbois
8
Flûte à bec Alto, Basse continue
8
2 Clarinettes, Basson
7
Flûte et Trio à cordes
7
2 Hautbois, Piano
7
Flûte, Tuba (duo)
7
Clarinette, Tuba
7
Hautbois, Violon, Piano
6
Hautbois, trombone (duo)
6
Hautbois, Clarinette et Piano (Trio)
6
Ensemble de Hautbois
6
Hautbois, Basson et Piano
6
Hautbois, Violoncelle et Piano
6
Saxophone et Piano
5
2 Cors Anglais Et Pianoforte
5
2 Flûtes à bec, Piano
5
Clarinette, trompette et piano
4
Cornemuse
4
Flûte, alto et harpe
4
Flûte et Quatuor à Cordes
4
Hautbois, Violin, Alto et Violoncelle (Quatuor)
3
Flûte, Violoncelle, Guitare
3
Clarinette, Orgue
3
Quintette de Clarinette: Clarinette, Quatuor à Cordes
3
Flûte de Pan
2
Flûte, Guitare, Piano
2
Flûte traversière, Orchestre
2
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
2
Flûte, Violon, Guitare
2
Flûte, Clarinette, Violon (trio)
2
Flûte à bec, Guitare (duo)
2
Clarinette, Orchestre
2
2 Flûtes, 2 Clarinettes (Quatuor)
1
2 Flûtes à bec, Guitare
1
Flûte, Alto et Violoncelle
1
2 Hautbois, 2 Cors et 2 Bassons
1
Flute, Cor (duo)
1
Cor anglais, Guitare (duo)
1
2 Flûtes, Basse continue
1
2 Hautbois et Basson
1
2 Hautbois et Cor anglais
1
Flute, alto, violoncelle et guitare
1
Hautbois et Orchestre
1
Cor anglais et Harpe (duo)
1
Flûte à bec Soprano, Basse continue
1
Instrumentations suivantes
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CUIVRES
Trompette
9354
Trombone
8003
Cor
2812
Trombone (partie séparée)
2596
Trompette (partie séparée)
2189
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2108
Trompette, Piano
1688
Trombone et Piano
1487
Cor et Piano
1144
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1053
Tuba
1009
Cor (partie séparée)
829
2 Trombones (duo)
787
2 Trompettes (duo)
779
Tuba et Piano
686
Tuba (partie séparée)
509
Euphonium
443
Quatuor de Cuivres: 2 trompettes, Cor, trombone
414
Quatuor de Cuivres
382
Trompette, Trombone (duo)
315
2 Cors (duo)
301
Trompette, Saxophone (duo)
281
Euphonium, Piano (duo)
227
Quatuor de cuivres: 4 trombones
216
Cor anglais, Piano
208
Ensemble de Trompettes
155
Trompette, Cor (duo)
151
2 Tubas (duo)
140
Ensemble de Trombones
132
Quatuor de cuivres: 4 cors
120
Bass Clef Instruments
102
2 Euphoniums et 2 Tubas
101
Quatuor de cuivres: 4 trompettes
95
Cor Anglais
83
Instruments en Sib
59
4 Tubas
55
3 Trompettes (trio)
54
3 Trombones (trio)
53
Tuba et Orgue
48
Ensemble de Cors
47
Trio de Cuivres
46
Cor, Violoncelle (duo)
35
2 Euphoniums (duo)
31
Trompette, Violoncelle (duo)
26
Trombone, Cor (duo)
26
Trombone, Tuba (duo)
22
Trombone basse
22
Cor et Harpe
22
Trompette, Basson (duo)
21
Trombone basse et Piano
20
Quatuor de cuivres: 2 trompettes, 2 trombones
19
Euphonium, Tuba (duo)
18
3 Cors (trio)
18
Trompette, Tuba (duo)
17
Cor et Basson (duo)
16
Trompette, Harpe
16
Trombone, Orgue
16
2 Trompettes, Clavier (piano ou orgue)
15
Instruments en Fa
14
Cor, Tuba (duo)
14
3 Tubas (trio)
13
Tuba ou Euphonium ou Saxhorn
12
Ensemble de Tubas
9
Trompette, Trombone, Piano
9
Trompette, violon (duo)
7
2 Cors, Piano
6
Trombone, Violon (duo)
6
Cor et Orgue
6
Cor, Orchestre
5
Trombone et orchestre
5
2 Cors Anglais Et Pianoforte
5
Trompette et Guitare
5
3 Euphoniums
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
2
Cornet et orchestre
2
Cornet A Pistons
2
4 Euphoniums
1
Cor, Trompette, Trombone (trio)
1
Cor anglais, Guitare (duo)
1
Trompette, Euphonium (duo)
1
Clarinette, Cor (duo)
1
Trompette, Violoncelle et Piano
1
2 Trombones, Piano
1
Cor anglais et Harpe (duo)
1
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Instrumentations suivantes
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CORDES
Violon
8530
Quatuor à cordes: 2 violons, alto, violoncelle
5481
Violoncelle
5001
Alto seul
4646
Violon et Piano
3693
Violoncelle, Piano
2686
Alto, Piano
2046
2 Violons (duo)
1419
Harpe
1296
Violon, Violoncelle (duo)
1165
Violon (partie séparée)
1090
Violoncelle (partie séparée)
1048
2 Violoncelles (duo)
961
Trio à Cordes: violon, alto, violoncelle
881
Contrebasse (partie séparée)
824
Contre Basse
681
Quintette à cordes: 2 violons, alto, violoncelle, basse
634
Contrebasse, Piano (duo)
619
Violon, Alto (duo)
537
2 Altos (duo)
505
Alto (partie séparée)
499
Trio à Cordes: 2 violons, violoncelle
292
2 Harpes (duo)
237
Alto, Violoncelle (duo)
172
4 Violoncelles
133
Harpe, Flûte (duo)
126
Piano Trio: Violon, Alto, Piano
122
Trio à cordes: 3 violins
109
2 Contrebasses (duo)
98
Violon, Guitare (duo)
79
Trio à Cordes: 3 violoncelles
76
Quatuor à cordes: 4 violons
69
Trio à cordes
60
Violon, Basson (duo)
59
Violoncelle, Contrebasse (duo)
57
Harpe, Violon (duo)
50
Quatuor à cordes : 4 altos
44
Violoncelle , Guitare (duo)
41
Alto et Basson
37
2 Violons, Piano
34
Trio à cordes: 3 altos
34
Trio à Cordes: 2 violons, alto
31
Quintette à cordes: 2 violons, 2 altos, violoncelle
31
Harpe, Violoncelle (duo)
30
Harpe, Voix
29
Quintette à cordes : 2 violons, alto et 2 violoncelles
28
Alto, Guitare (duo)
27
Ensemble de Violons
25
Alto et Harpe
25
Ensemble d'Altos
23
Violon, Clarinette, Piano (trio)
18
Violoncelle, Orchestre
17
Flûte, Contrebasse (duo)
16
Violoncelle, Orgue
16
Violon, Basse continue
14
Violon, Orgue
13
Harpe et mandoline
13
Ensemble de Violoncelles
11
Violoncelle, Basse continue
9
2 Violoncelles, Piano
9
Autoharp
9
Harpe (partie séparée)
8
Harpe, Violon, Violoncelle
7
Violon, Tuba (duo)
7
4 Contrebasses
5
Alto et orchestre
5
2 Altos, Piano
4
3 Harpes
4
2 Violons et Basse continue
4
Violon, Violoncelle, Clarinette
4
Harpe, Quatuor à cordes
3
Harpe et Orgue
3
4 Harpes
3
3 Contrebasses
3
Alto, Orgue
2
5 Harpes
2
Harpe, Trombone (duo)
2
Harpe et Piano
2
Violon, Trompette et Piano
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
26088
Orchestre
8999
Batterie
6974
Orchestre à Cordes
6804
Ensemble Jazz
5062
Fanfare
2083
Cloches
1728
Ensemble de cuivres
1067
Percussion
882
Orchestre de chambre
765
Percussion (partie séparée)
754
Batterie (partie séparée)
658
Jazz combo
352
Ensemble de Percussions
204
Xylophone
167
Marimba
164
Vibraphone
93
Timbales (partie séparée)
88
Caisse Claire
55
Xylophone, Piano
50
Piano et Orchestre
39
Orchestre, Violon
25
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
24
Timbales
13
2 Xylophones
13
Big band
9
Ensemble d'École
9
Instrumentation Flexible
7
Quintette de Cuivres: autres combinaisons
6
Quintette à Vent
5
Xylophone ou Marimba ou Vibraphone
4
3 Marimbas
4
Vibraphone (partie séparée)
3
Bongos
3
Vibraphone et Marimba
3
Bodhran
3
Conga
2
Cajon
2
2 Marimbas
2
Voix et Orchestre
1
Marimba, Saxophone (duo)
1
3 Percussions
1
Marimba, Piano (duo)
1
Voix Mezzo-Soprano, Orchestre
1
2 Caisses Claires (duo)
1
Marimba et Orgue
1
Instrumentations suivantes
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AUTRES
Formation musicale - Solfège
56
Théorie de la musique
12
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La Formation Musicale Tout Simplement Volume 3
Formation musicale - Solfège
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises…
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Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises, European, Children's Musicals. Individual Part. 42 pages. Published by MCM Editions Musicales
This methodis for third Year students Musical.<br> <br> <br> It coversthe bulk of the acquisitions requested for<br> third year of Formation and will make them discover all the language<br> Musical they need to play theirinstrument.<br> <br> <br> Each lessonincludes:<br> <br> <br> - Horizontal and vertical readingnotes<br> - Reading by the directory<br> - Reading rhythm<br> - Rhythm struck hands together one voice and two voice<br> - Rhythm struck and read by the directory<br> - Singing<br> - Theory<br> - Melodic dictation<br> - Rhythmic Dictation
$29.00
26.7 €
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Formation musicale - Solfège
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Christian Champeil
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La Formation Musicale Tout Simplement Volume 3
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MCM Editions Musicales
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SheetMusicPlus
La Formation Musicale Tout Simplement Volume 4
Formation musicale - Solfège
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises…
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Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises, European. Individual Part. 42 pages. Published by MCM Editions Musicales France
This methodis for fourth Year students Musical.<br> <br> <br> It coversthe bulk of the acquisitions requested for<br> fourth year of Formation and will make them discover all the language<br> Musical they need to play theirinstrument.<br> <br> <br> Each lessonincludes:<br> <br> <br> - Readingnotes horizontal and vertical<br> - Reading rhythm by the directory<br> - Rhythm struck hands together one voice two voice<br> - Singing<br> - Theory<br> - Melodic dictation<br> - Rhythmic Dictation
$29.00
26.7 €
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Formation musicale - Solfège
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Christian Champeil
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La Formation Musicale Tout Simplement Volume 4
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MCM Editions Musicales France
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SheetMusicPlus
Jazz Course for All Instruments 5 Simple Strategies for Developing Jazz Language and Fluency
Formation musicale - Solfège
Jazz. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #30890EB. Publish…
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Jazz. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #30890EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459295. 8.75x11.75 inches.<br> <br> According to musician and musicologist Gunther Schuller, 75% of all harmonic movement in jazz consists of ii-V-I progressions. Consequently, for the jazz improvisor, it is extremely important to be capable of playing a coherent phrase based on any member note of the ii chord and its extensions, in any key. In this book, music educator and world-renowned jazz saxophonist, Lukas Gabric focuses on helping you develop this essential skill. The five strategies outlined in Jazz Course for All Instruments are specifically designed to enhance your vocabulary and fluency as a jazz improviser. In a key segment, Gabric explains how longer phrases can be generated by combining minimal source materials. He also seeks to further your transposition and memorization skills as well as instrumental techniqueall of which are required for effective improvisation. For those familiar with other styles of music, this reasoned, incremental approach could well open the door to the exciting world of improvised jazz.
$9.99
9.2 €
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Formation musicale - Solfège
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Jazz Course for All Instruments 5 Simple Strategies for Developing Jazz Language and Fluency
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
A Concise Guide to Musical Terms
Formation musicale - Solfège
Classics. Pop. E-book. 205 pages. Mel Bay Publications - Digital Sheet Music #98419EB.…
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Classics. Pop. E-book. 205 pages. Mel Bay Publications - Digital Sheet Music #98419EB. Published by Mel Bay Publications - Digital Sheet Music
$24.99
23.01 €
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Formation musicale - Solfège
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A Concise Guide to Musical Terms
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download Minor: Dominant and Subdominant Tri…
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Voice, recorder and percussion - Digital Download Minor: Dominant and Subdominant Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orff- Schulwerk. Downloadable. Op. 5. Schott Music - Digital #Q49516. Published by Schott Music - Digital
English.<br> <br> Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided. it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fifth volume: Songs and pieces making further use of the modes introduced in Vol. 4, with the addition of the more usual forms of the minor scale with the sharpened seventh. The settings of short dramatic scenes concludes the book.
$21.99
20.25 €
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.09 €
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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
Musica arcaica No. 1
Violoncelle, Piano
Violin, cello and piano - difficult - Digital Download SKU: S9.Q6972 Studies on …
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Violin, cello and piano - difficult - Digital Download SKU: S9.Q6972 Studies on the Cypriot Folk Song 'The Shepherd'. Composed by Enjott Schneider. This edition: score and parts. Folk song. Downloadable, Score and parts. Duration 11 minutes. Schott Music - Digital #Q6972. Published by Schott Music - Digital (S9.Q6972). 'Musica arcaica No.1' is the first piece in a series of chamber music works in which Schneider as a composer examines music of other cultures (songs, dances among others). The old Cypriot shepherd's song Voskos inspired the composer to apply the archaic composition techniques of drone, heterophony and ostinato. The song expresses different moods: The first half of the song is dominated by the yearning lament 'Im Pferch eingesperrt bin ich geboren, im Pferch werde ich sterben'. The second half sets the ecstatically and defiantly, but also proudly sustained thought of death 'Niemand von euch kennt den Tod, noch das Altern!' to music. Schneider presents these emotions in a convincing and exciting manner by means of instruments.
$23.99
22.09 €
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Violoncelle, Piano
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Enjott Schneider
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Musica arcaica No. 1
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Schott Music - Digital
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SheetMusicPlus
Musica ricercata
Piano Facile
Piano - difficult - Digital Download For pianoforte. Composed by Gyorgy Ligeti (1923-…
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Piano - difficult - Digital Download For pianoforte. Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Zeitgenossische Musik, Ungarn, Piano. Downloadable. Duration 23 minutes. Schott Music - Digital #Q16144. Published by Schott Music - Digital
An irresistible elemental power emanates from the eleven pieces of the Musica Ricercata composed between 1951 and 1953. The early piano work by the famous Hungarian Gyorgy Ligeti arose from experiments with minimalist structures of rhythm and sound in order to build a New Music from nothing, so to speak, according to Ligeti himself. The effect that he achieves with just a few tones is inspiring. In the first piece, he uses one tone to which is added another tone at the end. In the second piece, the music consists of three tones, in the third of four, up to twelve tones in the eleventh piece. The second piece of the Music Ricercata served as soundtrack for the film Eyes Wide Shut by Stanley Kubrick.
$17.99
16.57 €
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Piano Facile
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Gyorgy Ligeti
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Musica ricercata
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Schott Music - Digital
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SheetMusicPlus
Musica, Dei donum optimi (Downloadable)
Chorale SSAATTBB
SSAATTBB choir (choir divisi) unaccompanied - Moderately Difficult - Digital Download S…
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SSAATTBB choir (choir divisi) unaccompanied - Moderately Difficult - Digital Download SKU: MQ.1.3506-E Composed by Carol Barnett. 21 pages. Duration 4 minutes, 30 seconds. Galaxy Music Corporation - Digital #1.3506-E. Published by Galaxy Music Corporation - Digital (MQ.1.3506-E). English, Latin.The composer writes: When asked to write a work for The Rose Ensemble's 20th Anniversary Season, I looked for a text that would resonate with this special occasion, perhaps something to help 'crown' the May Day celebration. But I kept coming back to music: 'Music, gift of the highest God,' music with the power to 'untune the sky,' music that refreshes and gives us strength, 'affording solace to all.' The music begins mysteriously with the John Dryden text split among the voices and ending with Alleluias. A sort of scherzo section follows, concluding with a declamation, The dead shall live, the living die, and music shall untune the sky. Then follows the setting of the Latin text of the title. The music is challenging, the textures interesting and varied. Duration: 4:30.
$3.20
2.95 €
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Chorale SSAATTBB
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Carol Barnett
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Musica, Dei donum optimi
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Galaxy Music Corporation - Digital
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SheetMusicPlus
Personalizing Jazz Vocabulary
Formation musicale - Solfège
Theory and reference - other - Intermediate-Advanced - Digital Download Composed by D…
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Theory and reference - other - Intermediate-Advanced - Digital Download Composed by Davy Mooney. Jazz and Contemporary. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30786MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619119345.<br> <br> This method book is designed to help intermediate to advanced jazz students incorporate classic jazz vocabulary into their original improvisations. Using a series of standard and modern chord progressions, guitarist Davy Mooney provides several short passages that are meant to be played exactly as written within an otherwise improvised solo; students are expected to adapt this written material to their own purposes by improvising into and out of it.In an effort to overcome the disconnect between developing a unique sound and learning the language of past jazz masters, the author eloquently analyzes several phrases and chord changes and comments on various aspects of improvisation, referencing the styles and specific recordings of many outstanding jazz artists. This is the method that Mooney used as a student to personalize his own jazz vocabulary and learn to express himself within the context of the jazz tradition.Mooney proves he has both the vocabulary and the chops to deliver generously repeated guitar/bass/drums backup tracks for student use; he then demonstrates the method by providing transcriptions of his own improvisations, incorporating the same phrases and chord progressions required of the student. The firm message conveyed by this book is that, ayou can do it too.aWritten in standard notation only. Includes access to online audio.
$17.99
16.57 €
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Formation musicale - Solfège
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Davy Mooney
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Personalizing Jazz Vocabulary
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Advanced Rhythmic Concepts for Improvisation A Path to Fluency in Odd Meters and Polyrhythms for All Instruments
Formation musicale - Solfège
Improvising, Lines & Phrases. Jazz. Ebook and online audio. 97 pages. Mel Bay Publ…
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Improvising, Lines & Phrases. Jazz. Ebook and online audio. 97 pages. Mel Bay Publications - Digital Sheet Music #30923MEB. Published by Mel Bay Publications - Digital Sheet Music
$19.99
18.41 €
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Formation musicale - Solfège
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Phrases
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Advanced Rhythmic Concepts for Improvisation A Path to Fluency in Odd Meters and Polyrhythms for All Instruments
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Exercises for Developing Jazz Improvisation Vol II C Version
Formation musicale - Solfège
Composed by Mat Sibley. Jazz, Method, Etudes and Exercises, General Instructional, T…
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Composed by Mat Sibley. Jazz, Method, Etudes and Exercises, General Instructional, Technique Training. Individual Part, Lead Sheet, Sheet Music Single, Solo Part. 18 pages. Published by Mat Sibley
Exercises for Developing Jazz Improvisation Volume II<br> <br> This method book covers a further 2 techniques to help the developing jazz player expand their jazz skills. These can also be purchased individually:<br> <br> Examining Diminished Scales<br> <br> This section looks at Whole/Half and Half/Whole step diminished scales. It includes ascending/descending broken chord exercises plus scale patterns for both Whole/Half and Half/Whole step diminished scales. There are also 2 written sample solos with audio demonstration and backing tracks to accompany the exercises.<br> <br> Triad Pairs and Hexatonic Scales<br> <br> This section focuses on 4 common triad pairs and their related hexatonic scales - 2 major triads a whole step apart, 2 major triads a tritone apart, major/augmented triads a whole step apart and 2 minor triads a whole step apart. There are exercises and patterns for each triad pair/hexatonic scale plus suggested chord applications for each. There are also 2 written sample solos with audio demonstration and backing tracks to accompany the practice exercises and sample solos.<br> <br> Although originally created for sax students, all books have now been adapted for C, Bb, Eb and Bass Clef instruments.
$14.99
13.8 €
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Formation musicale - Solfège
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Mat Sibley
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Exercises for Developing Jazz Improvisation Vol II C Version
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Mat Sibley
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SheetMusicPlus
Musica seria
Orgue
Organ - difficult - Digital Download Per organo. Composed by Peteris Vasks (1946-). T…
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Organ - difficult - Digital Download Per organo. Composed by Peteris Vasks (1946-). This edition: Sheet music. Downloadable. Duration 16 minutes. Schott Music - Digital #Q3032. Published by Schott Music - Digital
Peteris Vasks has written compositions for organ again and again, whether original works or arrangements of his own works for strings. He drew his ideal sound image and his inspiration from the famous organ of the Cathedral in Riga where the composer has been living for a long time. Like in almost all his compositions, the basic idea of 'Musica seria' is the personal human examination of Creation: on the one hand the beauty of Nature, on the other hand the destruction of Nature by man.<br> Vasks' organ music does not provide any great difficulties but rather displays an impressive tonal variety of the most intimate, held back sounds to tremendous chordal eruptions.
$16.99
15.64 €
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Orgue
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Peteris Vasks
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Musica seria
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Schott Music - Digital
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SheetMusicPlus
Ready-to-Play Pianist: Advent and Christmas
Piano seul
Piano - Intermediate - Digital Download SKU: LX.70-1428L Edited by Kris Kropff. Sac…
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Piano - Intermediate - Digital Download SKU: LX.70-1428L Edited by Kris Kropff. Sacred, Advent, Christmas, Epiphany. Church Piano. 42 pages. Lorenz Publishing - Digital Sheet Music #e70/1428L. Published by Lorenz Publishing - Digital Sheet Music (LX.70-1428L). UPC: 000308069303.The Christmas season is one deeply rooted in rich traditions that extend to church and family and encompass everything from gatherings to meals to music, all demanding time, energy, and quality. It is for these times that the Lorenz tradition of providing accessible yet musically satisfying collections is ideally suited. In this newest offering of The Ready-to-Play Pianist Series, we continue this time-honored tradition with practical arrangements of thirteen well-known carols, varied in style, designed to help the in-demand pianist survive the busy Christmas season. Durations are provided to help with programming decisions.
$22.95
21.13 €
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Piano seul
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Ready-to-Play Pianist: Advent and Christmas
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Teddy Music
1 Piano, 4 mains
Piano (4 hands) - easy - Digital Download 10 Easy Pieces. Composed by Hermann Regner …
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Piano (4 hands) - easy - Digital Download 10 Easy Pieces. Composed by Hermann Regner (1928-). This edition: performance score. Downloadable. Duration 10 minutes. Schott Music - Digital #Q7193. Published by Schott Music - Digital
Hermann Regner, one of the most successful music teachers of the 20th century and pupil of Carl Orff, was dedicated to the fusion of instrumental education and contemporary music. Thanks to his practical compositions, he helped children, young people and amateur musicians gain access to modern music. 'Teddy Music' is a collection of 10 easy pieces for piano duet. A teddy bear leads the musician through the colourful collection in amusing illustrations. The pieces have been written for pupils and teacher, with the pupil's part being very easy and designed for the first or second year. The teddy bear can do a lot of things: he dances, swings, rides, dreams, tells stories and occasionally gets annoyed. A cheerful collection for the first steps in piano duet playing.
$13.99
12.88 €
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1 Piano, 4 mains
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Hermann Regner
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Teddy Music
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Schott Music - Digital
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SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q25928 Pentatonic.…
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Voice, recorder and percussion - Digital Download SKU: S9.Q25928 Pentatonic. Composed by Carl Orff and Gunild Keetman. Arranged by Arnold Walter and Doreen Hall. This edition: score for voice and/or instruments. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 1. Schott Music - Digital #Q25928. Published by Schott Music - Digital (S9.Q25928). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition musik für Kinder, english adaption with additional material by Doreen Hall and Arnold Walter.
$10.99
10.12 €
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Carl Orff and Gunild Keetman
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Arnold Walter and Doreen Hall
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q2433 Minor: Bordun
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Voice, recorder and percussion - Digital Download SKU: S9.Q2433 Minor: Bordun. Composed by Carl Orff and Gunild Keetman. Arranged by Arnold Walter and Doreen Hall. This edition: score for voice and/or instruments. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 4. Schott Music - Digital #Q2433. Published by Schott Music - Digital (S9.Q2433). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition musik für Kinder, english adaption with additional material by Doreen Hall and Arnold Walter.
$11.99
11.04 €
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Carl Orff and Gunild Keetman
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Arnold Walter and Doreen Hall
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Music for Children
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Schott Music - Digital
#
SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q42466 Pentatonic.…
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Voice, recorder and percussion - Digital Download SKU: S9.Q42466 Pentatonic. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orff-Schulwerk - Rhythmusübungen - Kinderreime. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 1. Schott Music - Digital #Q42466. Published by Schott Music - Digital (S9.Q42466). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this first volume: speech and rhythmic exercises, nursery rhymes, songs, instrumental pieces and melodic exercises using only the five note scale, with instructions and notes. Illustrated.
$21.99
20.25 €
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Margaret Murray
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q53825 Major: Dominant…
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Voice, recorder and percussion - Digital Download SKU: S9.Q53825 Major: Dominant and Subdominant Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orchestration - Orff Schulwerk - keys. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 3. Schott Music - Digital #Q53825. Published by Schott Music - Digital (S9.Q53825). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this third volume: The instrumentation and range of keys are inceased. The settings include the chords on the fourth and fifth notes of the major scale.
$21.99
20.25 €
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Margaret Murray
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Music for Children
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Schott Music - Digital
#
SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q47192 Minor: Drone Ba…
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Voice, recorder and percussion - Digital Download SKU: S9.Q47192 Minor: Drone Bass-Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Songs - Orff Schulwerk - pieces. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 4. Schott Music - Digital #Q47192. Published by Schott Music - Digital (S9.Q47192). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fourth volume: Songs and pieces using the full range of the aeolian, dorian and phrygian modes. Accompaniements are founded on drone bass with the later addition of simple chords.
$21.99
20.25 €
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Margaret Murray
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Music for Children
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Schott Music - Digital
#
SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download SKU: S9.Q47388 Major: Drone Ba…
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Voice, recorder and percussion - Digital Download SKU: S9.Q47388 Major: Drone Bass-Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Songs - Orff Schulwerk - pieces. Orff-Schulwerk. Downloadable, Vocal and performing score. Op. 2. Schott Music - Digital #Q47388. Published by Schott Music - Digital (S9.Q47388). English.Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this second volume: Songs and pieces using the full major scale. Accompaniments are founded on drone bass with the later addition of simple chords.
$21.99
20.25 €
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Margaret Murray
#
Music for Children
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Schott Music - Digital
#
SheetMusicPlus
Music Theory Colouring Booklet lesson 11 - Introduction to Composition
Théorie de la musique
Composed by Jessica Erlendson. Method, Etudes and Exercises, Classroom, General Inst…
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Composed by Jessica Erlendson. Method, Etudes and Exercises, Classroom, General Instructional, Activities and Games. Sheet Music Single. 8 pages. Published by Bob & Jessica Erlendson
This colouring booklet covers Basic compositions in both treble and bass clef.<br> Ideal for those needing a little extra help learning music theory. <br> Perfect for new music students, or those that have tried to read music and given up.<br> Designed for students with learning challenges by an independent music instructor with 20 years experience teaching.<br> Use as a supportive exercise book with any standard Piano method book.<br> www.musicandyoga.online
$4.99
4.59 €
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Théorie de la musique
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Jessica Erlendson
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Jessica Erlendson
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Music Theory Colouring Booklet lesson 11 - Introduction to Composition
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Bob & Jessica Erlendson
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SheetMusicPlus
Risen to Glory
SAB choir/Narration with optional Full Orchestra (With Optional Full Orchestra) - Digital …
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SAB choir/Narration with optional Full Orchestra (With Optional Full Orchestra) - Digital Download SKU: LX.55-1091L Unfolding the Journey from Jesus' Resurrection to His Ascension. Composed by Lani Smith. Choral Cantatas. Easter. 52 pages. Lorenz Publishing - Digital Sheet Music #e55/1091L. Published by Lorenz Publishing - Digital Sheet Music (LX.55-1091L). UPC: 000308099928.Easter, of course, is the most significant day in the Christian calendar. In fact, Christians are often correctly referred to as Easter people, and rightly so since the resurrection is the core of our belief in Christ as Savior. But of almost equal importance are the multiple appearances of Jesus to his disciples and others during the 40 days between his resurrection and his ascension. Beginning with our Savior's appearance to Mary, mother of James, and Mary Magdalene out of the tomb, and culminating with Jesus' ascension to his throne in heaven and the promise of the second coming, Risen to Glory reveals this journey through two narrators and an inspiring musical message. It promises to heighten the awareness of these momentous events in the mind and hearts of congregations in a stimulating, stirring and worshipful presentation.
Song List: A Hymn Of Glory Let Us Sing Alleluia Alleluia Be Known to Us Jesus Calls Us Seeing From Within The Road Is Long
$8.95
8.24 €
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Lani Smith
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Risen to Glory
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Saints Alive: Aging to Perfection
Chorale SATB
SATB choir - Easy - Digital Download SKU: LX.45-1107L An SATB musical for Senior…
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SATB choir - Easy - Digital Download SKU: LX.45-1107L An SATB musical for Senior Choir. Composed by Bob Woolley and Paul Taylor. Choral Cantatas. 88 pages. Lorenz Publishing - Digital Sheet Music #e45/1107L. Published by Lorenz Publishing - Digital Sheet Music (LX.45-1107L). UPC: 000308059595.A follow-up to the popular Saints Alive and Saints Alive in Prime Time, this cleverly named sequel has a similar humorous tone and light, fun melodies. The optimistic text artfully set to easy-to-sing songs brings an uplifting message of staying active and living later years in the likeness and spirit of the Lord. A sure hit with your senior choir, this original work will give the pillars of your church a chance to shine and to be recognized for all they have done and continue to do. Performance time:30-35 minutes.
Song List: Aging to Perfection Great Day Just to Be Like Him Love the Lord Your God Mama Always Said Peculiar Situations Sitting in the Boat The Fast Lane of Life With Great Joy
$10.95
10.08 €
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Chorale SATB
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Bob Woolley and Paul Taylor
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Saints Alive: Aging to Perfection
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
A Little Night Music: 1st Percussion
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0014560_PC1 1st Percussion. Co…
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Concert Band - Digital Download SKU: AX.00-PC-0014560_PC1 1st Percussion. Composed by Wolfgang Amadeus Mozart. Arranged by Todd Stalter. Classical. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014560_PC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014560_PC1). UPC: 038081394916.Mozart's Serenade No. 13 for strings in G Major, K. 525 is commonly referred to as Eine Kleine Nachtmusik, which stands for a little serenade, but is more familiar to music lovers as a little night music. This arrangement uses themes from the first movement, and is cast in a comfortable key and range for young band musicians. Careful attention to the sudden, extreme dynamic changes will make the performance of this piece really come to life.
$3.00
2.76 €
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Orchestre d'harmonie
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Wolfgang Amadeus Mozart
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Todd Stalter
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A Little Night Music: 1st Percussion
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
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