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--INSTRUMENTS--
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Tonal Atonality
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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BASSE
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BOUZOUKI
CHORALE - CHAN…
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Tonal Atonality
Partitions à imprimer
76 partitions trouvées
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Fugue with Polyrhythm and Atonality
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Piano seul
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AVANCÉ
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Contemporain
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David Tsvariani
(Allegro m
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David Tsvariani
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Fugue with Polyrhythm and Aton
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David Tsvariani
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1324806 Composed by David Tsvariani. Classical,Contemporary. Score. 6 pages. David Tsvariani #913016. Published by David ...
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Piano Solo - Level 5 - SKU: A0.1324806 Composed by David Tsvariani. Classical,Contemporary. Score. 6 pages. David Tsvariani #913016. Published by David Tsvariani (A0.1324806). Fugue with Polyrhythm and Atonality By David Tsvariani(Allegro moderato).
$2.99
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
'Change of scene' from Act III of Wozzeck
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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'Change of scene' from Act III
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
Seven Pieces in Twentieth-Century Styles
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Piano seul
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INTERMÉDIAIRE
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James Siddons
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Seven Pieces in Twentieth-Cent
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and W...
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Piano Solo - Level 3 - SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com
$5.00
Excerpt from Lulu Suite
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Guitare
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Contemporain
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Alban Berg
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Rod Whittle
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Excerpt from Lulu Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Publi...
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Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00
The First Unafraid Book, Op. 195
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Piano seul
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AVANCÉ
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Contemporain
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Samuel Wellman
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The First Unafraid Book, Op. 1
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Samuel Wellman
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.882057 Composed by Samuel Wellman. Contemporary. Score. 38 pages. Samuel Wellman #11849. Published by Samuel Wellman (A0....
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Piano Solo - Level 5 - SKU: A0.882057 Composed by Samuel Wellman. Contemporary. Score. 38 pages. Samuel Wellman #11849. Published by Samuel Wellman (A0.882057). The muse of parody strikes again! These 42 pieces are creative arrangements of a certain well-known volume with a red cover, 'unafraid' rhyming with another word in the original title. You are unafraid if you take these pieces and bravely try them out on the piano. Original titles have been changed to nonsensical phonetic equivalents (Music Land = Music Gland; Swans on the Lake = Lawns on the Cake). Twisted tonalities, atonality, rare and unheard of meters, rhythmic highjinks---they're all here for your delight.
$28.00
PIANO SONATA
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Piano seul
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AVANCÉ
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Aaron Robinson
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PIANO SONATA
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Music at Immanuel
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1477723 Composed by Aaron Robinson. 20th Century,Classical. Score. 55 pages. Music at Immanuel #1055103. Published by Mus...
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Piano Solo - Level 5 - SKU: A0.1477723 Composed by Aaron Robinson. 20th Century,Classical. Score. 55 pages. Music at Immanuel #1055103. Published by Music at Immanuel (A0.1477723). Dedicated to pianist Eric Xi Xin Liang, PIANO SONATA by American composer Aaron Robinson is a programmatic work on a monumental scale. Composed in four movements representing four areas of Maine: Machigonne (Portland), Down East, Malaga Island and Katahdin, each paints a detailed portrait of a specific time and place in the State’s history. Its compositional structure draws heavily on the sights and sounds associated with each region while weaving original themes throughout. Mimesis is used to represent the native calls of the indigenous birds found within the state, such as the phoebe, bobolink and the pileated woodpecker; while hymns, songs and sea shanties are incorporated to represent various time periods. Movement I - MACHIGONNE - Native Americans originally named what is today the Portland peninsula of Maine “Machigonne”, which translates “Great Neck”. The movement quotes several sacred and ritual songs of the Passamaquoddy Tribe of Maine. The struggle between centuries of habitation by the native peoples of the area is represented by the arrival of early settlers and illustrated by juxtaposing hymn tunes and dance music of the past eras.Movement II - DOWN EAST - is the eastern coastal area of the state closely associated with the French territory of Acadia. Replete with historic sea shanties and tunes, the sound of tolling ship and buoy bells, lighthouse fog horns, and ocean winds are intertwined to create a high-spirited journey which culminates in the familiar Shaker tune from Alfred, Maine.Movement III - MALAGA ISLAND - Today an uninhabited reserve, Malaga Island was once the home to an interracial community dating from the 1860s to 1911, when its residents were forcibly evicted by the State. The opening theme represents the remnants of the island in its present state; haunted by the memories and unsettling muted solitude of the past and its historical injustice. A peaceful hymn depicting simpler times becomes slowly unraveled, erupting in a traumatic chaos that is never resolved. A ghostly refrain can be heard in the distance as the movement concludes.Movement IV - KATAHDIN - Mount Katahdin (“Catahdrin”), called “Great Mountain” by the Penobscot Native Americans, is located within the Northeast Piscataquis County, the northern terminus of the Appalachian Trail. The grandeur of its majesty is portrayed by the original themes depicting epic rising and falling passages traversing over centuries. Native Americans believed the mountain to be the home of the storm god Pamola (a place to be avoided), which is characterized by ever-changing major and minor keys within the often times turbulent motifs. The sonata ends in a tonal key: bringing the atonality and discordant change of the work and its representation as a whole to a final resolve.PIANO SONATA lasts approximately 25 minutes.
$9.99
4:24 AM
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Trompette
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INTERMÉDIAIRE
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Myron L Smith II
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4:24 AM
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Myron L Smith II
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SheetMusicPlus
B-Flat Trumpet Solo - Level 3 - SKU: A0.1372356 Composed by Myron L Smith II. 21st Century. Individual part. 3 pages. Myron L Smith II #956603. Publishe...
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B-Flat Trumpet Solo - Level 3 - SKU: A0.1372356 Composed by Myron L Smith II. 21st Century. Individual part. 3 pages. Myron L Smith II #956603. Published by Myron L Smith II (A0.1372356). 4:24 AM is a solo etude for Trumpet in Bb. This etude was written with no tonal center due to it being composed from a 12 tone matrix. The atonality ads to the playful nature of this drozy and bizarre adventure.
$5.00
Autumn
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Guitare
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AVANCÉ
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Andrew Howes
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Autumn
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.951455 Composed by Andrew Howes. 20th Century,Contemporary,Standards. Individual part. 2 pages. Andrew Howes #6863333. P...
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Solo Guitar - Level 5 - SKU: A0.951455 Composed by Andrew Howes. 20th Century,Contemporary,Standards. Individual part. 2 pages. Andrew Howes #6863333. Published by Andrew Howes (A0.951455). A wistful, elegiac tone-poem for the classical guitar evoking the feeling of the falling of the year with breezes, falling leaves, fading light and a storm through the use of atonality, quartal harmony and chromatic descent. The piece is in sonata form but with the sections mainly denoted by textural/thematic contrast and the use of A and E respectively as tonal reference points: the rhythm is to be treated fairly freely with plenty of space.
$4.00
The Parodic Scaramouche
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Logan Moore
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The Parodic Scaramouche
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Logan Moore
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.973437 Composed by Logan Moo...
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.973437 Composed by Logan Moore. 20th Century,Contemporary. 31 pages. Logan Moore #6674517. Published by Logan Moore (A0.973437). A bit of a circus piece, this piece is meant to depict the scene of an abandoned amusement park, haunted by a scary clown. Many of the melodies appear to be almost tonal, but are often subverted by chromatic parts/countermelodies. This piece brings atonality to (hopefully) a place where the audience will understand what the odd melodies should make them feel.Run time ~ 3.5 min.
$15.00
Quirón, el centauro sensato [solo flute]
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Flûte traversière
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Juan MarÃa Solare
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Quirón, el centauro sen
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Juan Maria Solare
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SheetMusicPlus
Flute Solo - Level 4 - SKU: A0.596557 Composed by Juan MarÃa Solare. Concert,Contemporary,Graduation,Instructional,Praise & Worship. Individual part....
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Flute Solo - Level 4 - SKU: A0.596557 Composed by Juan MarÃa Solare. Concert,Contemporary,Graduation,Instructional,Praise & Worship. Individual part. 6 pages. Juan Maria Solare #4614051. Published by Juan Maria Solare (A0.596557). The musical language of this flute solo tends to be atonal. A melodic atonality. Duration: 4:00.As for the title: Chiron is a centaur from the Greek mythology; the only only one wise, skillful and with affable character; in other words, the only centaur who is not a brute. He is credited with musical and healing gifts. Apparently he was the teacher or tutor of Achilles, Jason, Asclepius, Xenophon, Apollo and many other mythical colleagues.
$2.00
Woodwind Trio
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Flûte, Clarinette et Basson
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Zack Richards
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Woodwind Trio
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Zack Richards
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Flute - Level 4 - SKU: A0.894375 Composed by Zack Richards. 20th Century,Contemporary. 14 pages. Zack R...
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Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Flute - Level 4 - SKU: A0.894375 Composed by Zack Richards. 20th Century,Contemporary. 14 pages. Zack Richards #2113355. Published by Zack Richards (A0.894375). I wrote this piece early in my Graduate work at The University of Akron. It is my first full work based in atonality. Because of the atonal harmonies creating dissonance and a somewhat chaotic sound, I worked to create unity through rhythmic and melodic ideas. To increase variety, there are a number of instances where the three instruments are in extremely chaotic counterpoint and then come together rhythmically to bring order to the chaos. The interest for the players and listeners comes from that exchange between chaos and order.
$10.49
Six Strange Waltzes for Solo Piano
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Richard St
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Six Strange Waltzes for Solo P
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Richard St. Clair
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.939690 Composed by Richard St. Clair. Contemporary. Score. 14 pages. Richard St. Clair #3000719. Published by Richard St....
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Piano Solo - Level 4 - SKU: A0.939690 Composed by Richard St. Clair. Contemporary. Score. 14 pages. Richard St. Clair #3000719. Published by Richard St. Clair (A0.939690). These whimsical waltzes are largely atonal but are a tribute to the great collection of waltzes by Johannes Brahms. Their strangeness is in the odd combination of atonality with traditional waltz dance style. Duration: about 7 1/2 minutes.
$10.99
8 Chorales For Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Wesley Besancon
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Wesley Besancon
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8 Chorales For Concert Band
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Wesley Besancon
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1165646 By Wesley Besancon. By Various. Arranged by Wesley Besancon. 19th Century,20th Century,Religious,Sacred. Score ...
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Concert Band - Level 3 - SKU: A0.1165646 By Wesley Besancon. By Various. Arranged by Wesley Besancon. 19th Century,20th Century,Religious,Sacred. Score and Parts. 82 pages. Wesley Besancon #766004. Published by Wesley Besancon (A0.1165646). The one thing I see every band do is chorales, and alot of the time, they are not grasping the top 4 concepts:1. Different Styles2. Different Keys (especially sharp keys)3. Different Times4. Different DynamicsAnd with this useful chorale book, you grasp different styles (Legato, Cantible, Atonal, Traditional), different keys (Bb, D, Ab, Eb), different times (4/4, 3/4), and rapid dynamic changes. The Chorales Used: Crusader's Hymn (von Fallersleben)All Glory, Laud, and Honor (Neale)Salvation (Besancon)America the Beautiful (Sainte-Marie)Simple Gifts (Brackett)Oh Thy Lord Jesus, May We Praise You! (Besancon)Practicing Atonality (Besancon)Une Chorale Deddie A Besancon, France (Besancon).
$14.99
Night Visitors
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Orchestre de chambre
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David Dolatowski
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Night Visitors
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Golden Hawk Music
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SheetMusicPlus
Chamber Orchestra - SKU: A0.802941 Composed by David Dolatowski. 21st Century,Classical,Contemporary,Film/TV,Thriller. 12 pages. Golden Hawk Music #4978...
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Chamber Orchestra - SKU: A0.802941 Composed by David Dolatowski. 21st Century,Classical,Contemporary,Film/TV,Thriller. 12 pages. Golden Hawk Music #4978357. Published by Golden Hawk Music (A0.802941). Night Visitors was composed for a small, chamber orchestra.This is a new piece for chamber orchestra, 2019. It is intended for a small ensemble and is scored for 1 Fl., 1 Ob., 1 Cl B-flat, 1 Bssn., 2 Horns, Vln I (4) Vln II (4), Vla. (3) VC (2) and DB (1) - although a larger string section is possible if a good balance with the winds is achieved.The piece combines tonality with atonality. Duration: 10 mins. An advanced high school ensemble would find this piece interesting and somewhat challenging.
$30.00
Fantasy-Suite for Clarinet and String Trio #2
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE
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Steven Kudlo
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Fantasy-Suite for Clarinet and
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Steven Mark Kudlo
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SheetMusicPlus
B-Flat Clarinet,Cello,Viola,Violin - Level 3 - SKU: A0.1189979 Composed by Steven Kudlo. 20th Century,Chamber,Classical,Contemporary. 80 pages. Steven M...
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B-Flat Clarinet,Cello,Viola,Violin - Level 3 - SKU: A0.1189979 Composed by Steven Kudlo. 20th Century,Chamber,Classical,Contemporary. 80 pages. Steven Mark Kudlo #789594. Published by Steven Mark Kudlo (A0.1189979). In six movements, at about 20 mins in length, this is a polystylistic piece, using tonality mixed with atonality but in a timeless neoclassical style.
$8.99
Molto espressivo, for violin and piano
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Violon
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INTERMÉDIAIRE/AVANCÉ
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Haydn Reeder
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Molto espressivo, for violin a
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Haydn Reeder
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SheetMusicPlus
Violin Solo - Level 4 - SKU: A0.953828 Composed by Haydn Reeder. 20th Century,Concert,Contemporary,Standards. 5 pages. Haydn Reeder #3436229. Published ...
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Violin Solo - Level 4 - SKU: A0.953828 Composed by Haydn Reeder. 20th Century,Concert,Contemporary,Standards. 5 pages. Haydn Reeder #3436229. Published by Haydn Reeder (A0.953828). Molto espressivo is a short piece for violin and piano suitable for advanced intermediate students and of course, professionals. The following program note is also in the score:In general this music teeters on the edge of chromatic tonality, occasionally taking flight into areas of atonality. The main melodic idea is presented at various points in different rhythmic guises. There is plenty of opportunity for the players, particularly the violinist, to be expressive. Although the piece stands alone, in the future it may be situated within a larger work or set of pieces.
$4.00
"Perhaps" for piano solo
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Piano seul
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AVANCÉ
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Endri Sina
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"Perhaps" for piano
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Endri Sina
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1012829 Composed by Endri Sina. Contemporary,Standards. Score. 16 pages. Endri Sina #5361503. Published by Endri Sina (A0...
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Piano Solo - Level 5 - SKU: A0.1012829 Composed by Endri Sina. Contemporary,Standards. Score. 16 pages. Endri Sina #5361503. Published by Endri Sina (A0.1012829). It is a work with a mixed language between modality, tonality and atonality. The duration is about 10 min.
$20.00
String Quartet No 4 (Score)
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Colin Bayliss
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String Quartet No 4
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Colin Bayliss
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.938385 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 33 pages. Colin Bayliss ...
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String Quartet String Quartet - Level 4 - SKU: A0.938385 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 33 pages. Colin Bayliss #6135. Published by Colin Bayliss (A0.938385). This work was written between January and March 1997. It has thirteen short continuous movements, one for each note of the tone row and a resolution of the row into an adagio movement in C major. The movements are written in a time signature beginning with one beat to a bar and ending in 13 beats to a bar until the final section of the last movement. The number of bars for each movement is in multiples of 13, then 14 and onwards to 25. The harmonic language is dictated by the combinations of notes in the original row combining with a row with its inversions and retrogrades begun from the first note of each new section. The sections may be briefly summarised as follows:- 1. Adagio A basic statement of the row with its inversion and retrograde 2. Con brio A rhythmic miniature scherzo and trio 3. Allegretto Dynamic contrasts using pizzicato and glissando 4. Andante piacevole e mesto Aduet between the violins with accompaniment from the viola and 'cello 5. Agitato An atmospheric spiccato section interrupted by foot-stamping 6. Andante languido A barcarolle-like section with passages of col legno 7. Allegro A rhythmic section contrasted by passages in harmonics 8. Tempo di tango presto The tango is apt to slip into many of the composer's pieces, even where nominally 12-tone, and is never remotely serious! 9. Andante pastorale Another atmospheric section but more relaxed 10. Allegro molto A scherzando section using rhythmic retrogrades 11. Allegretto The music begins to pull into feeling of tonality around C 12. Allegro moderato This process continues with tremolandi and glissandi searching for the way to a diatonic C major 13. Molto adagio - adagietto The last traces of atonality are wiped away and the work ends in an unashamed sense of quiet triumph The Score and Parts are available on this site as separate downloads The sound sample is the second movement - performed by the Lochrian Ensemble The complete 6 string quartets performed by the Lochrian Ensemble are available on itunes: see: http://www.dwsolo.com/colinbayliss/ For this 4th quartet see: https://itunes.apple.com/us/album/colin-bayliss-string-quartet/id585288847.
$8.00
The Dark Glass Sinfonia (Parts)
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Orchestre
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AVANCÉ
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Contemporain
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Sarah Wallin Huff
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The Dark Glass Sinfonia
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Novel Soundtrax
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1294001 Composed by Sarah Wallin Huff. Classical,Contemporary. Score and Parts. 61 pages. Novel Soundtrax #884482. Pu...
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Full Orchestra - Level 5 - SKU: A0.1294001 Composed by Sarah Wallin Huff. Classical,Contemporary. Score and Parts. 61 pages. Novel Soundtrax #884482. Published by Novel Soundtrax (A0.1294001). “We See Through A Glass Darkly…â€The Dark Glass Sinfonia is Wallin-Huff’s 2017 composition for symphony orchestra. Built upon an integrated set of hexachordal formulae – blending the concepts of free atonality with modal harmony – this work represents the enigmatic and ongoing, emotional flux of the Soul. Running time: approx. 6 minutes.â€Next comes Dark Glass Sinfonia by Sarah Wallin Huff, in which crumpled dissonances flower into exuberant tonality, capitalizing on the full dynamic range of the orchestra.†(PARMA Recordings).
$100.00
Symphony for Chamber Orchestra (instrumental parts)
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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WAGSTAFF, Julian
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Symphony for Chamber Orchestra
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Julian Wagstaff
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.971717 Composed by WAGSTAFF, Julian. 20th Century,Contemporary. Score and parts. 258 pages. Julian Wagstaff #3421031....
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Full Orchestra - Level 3 - SKU: A0.971717 Composed by WAGSTAFF, Julian. 20th Century,Contemporary. Score and parts. 258 pages. Julian Wagstaff #3421031. Published by Julian Wagstaff (A0.971717). Julian Wagstaff's Symphony for Chamber Orchestra premiered in Edinburgh in 2005 at a most memorable and well attended concert given by the University of Edinburgh Chamber Orchestra, conducted by Michael Bawtree. The symphony is both wide-ranging and accessible, melodic and angular. It explores the nature of tonality and atonality and the linkage between them. With a duration of approximately 25 minutes, the work is cast in 6 continuous sections. It is ideal for university and semi-professional orchestras as well as professional ensembles, and is a proven audience hit. For more information, or to request performance materials, visit www.julianwagstaff.com or call +44 131 208 5373.
$79.99
The Dark Glass Sinfonia (Score)
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Orchestre
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AVANCÉ
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Contemporain
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Sarah Wallin Huff
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The Dark Glass Sinfonia
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Novel Soundtrax
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.800379 Composed by Sarah Wallin Huff. Classical,Contemporary. Score and Parts. 25 pages. Novel Soundtrax #3073541. Pu...
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Full Orchestra - Level 5 - SKU: A0.800379 Composed by Sarah Wallin Huff. Classical,Contemporary. Score and Parts. 25 pages. Novel Soundtrax #3073541. Published by Novel Soundtrax (A0.800379). “We See Through A Glass Darkly…â€The Dark Glass Sinfonia is Wallin-Huff’s 2017 composition for symphony orchestra. Built upon an integrated set of hexachordal formulae – blending the concepts of free atonality with modal harmony – this work represents the enigmatic and ongoing, emotional flux of the Soul.â€Next comes Dark Glass Sinfonia by Sarah Wallin Huff, in which crumpled dissonances flower into exuberant tonality, capitalizing on the full dynamic range of the orchestra.†(PARMA Recordings).
$32.00
Pale Blue Eyes - May 1965 Demo
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Lou Reed
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Pale Blue Eyes - May 1965 Demo
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SmartWorks Publications
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SheetMusicPlus
Guitar,Voice - Level 3 - SKU: A0.1210914 Composed by Lou Reed. Arranged by Alpin Smart (Transcription for Guitar [TAB]w/chord symbols/lyric sheet. 20th ...
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Guitar,Voice - Level 3 - SKU: A0.1210914 Composed by Lou Reed. Arranged by Alpin Smart (Transcription for Guitar [TAB]w/chord symbols/lyric sheet. 20th Century,Folk,Pop,Rock,Singer/Songwriter. Guitar Tab with Voice. 4 pages. SmartWorks Publications #808615. Published by SmartWorks Publications (A0.1210914). Arguably the most remarkable track on a newly-released album* of demos made in May 1965, this earliest-known version of Pale Blue Eyes once again demonstrates the incomparable genius of Lou Reed's songwriting. The embryonic version of one of Lou's greatest songs differs only in one vital respect from that of VU's third album of 1968, The Velvet Underground: where the demo is clearly a 'Dylanesque' folk ballad, the introduction in '68 of a jarring Blues-infused lead guitar completely alters the 'folky' feel and mood. The combination of two 'irreconcilable' tonalities produces something extremely rare and innovative in the history of Rock and Roll: Disharmony or Atonality! And, the effect is equally poignant, but also more unsettling and hauntingly resonant - Pure Genius!*(Lou Reed: Words & Music, May 1965, Light in the Attic Records, July 2022).
$4.99
Sketches of Christ 3 "I Was Blind; Now I See" - Tone Poem for Instrumental Solo and Piano by Stephen
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Violoncelle, Piano
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Contemporain
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Stephen R Dalrymple
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Sketches of Christ 3 "I W
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Stephen R Dalrymple
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SheetMusicPlus
Small Ensemble Cello,Clarinet,Flute,Piano,Trombone,Trumpet,Violin - SKU: A0.818293 Composed by Stephen R Dalrymple (Dalrymple Designs). Contemporary. Sc...
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Small Ensemble Cello,Clarinet,Flute,Piano,Trombone,Trumpet,Violin - SKU: A0.818293 Composed by Stephen R Dalrymple (Dalrymple Designs). Contemporary. Score and parts. 109 pages. Stephen R Dalrymple #4991045. Published by Stephen R Dalrymple (A0.818293). Sketches of Christ Movement 3 Though I Was Blind; Now I SeeTone Poem for Cello and Piano and Piano by Stephen R Dalrymplebased on John 9, the account of the interactions of the man born blind, Jewish authorities, and Jesus Christtranscribed for solo flute, clarinet, trumpet, euphonium/trombone, and violin Sketches of Christ is a 3 movement work by Stephen R Dalrymple intended for the concert stage (contrasted with preludes and offertories at church). It was originally titled Sonata for Cello and Piano. As I composed similar works, I realized that, although I have used the concepts of sonata form in various movements, because these pieces reflect the drama of selected passages of the Bible, Tone Poem was a more fitting genre title. I have begun the process of transcribing these Tone Poems for additional instruments. I consider these Tone Poems as contemporary classical music. I have used modal harmonies; polychords and polytonality; free dissonance; atonality, mixed meters, etc. to convey the drama of the Bible. Sketches of Christ is based on 3 episodes from Christ’s Life: The calming of the Sea of Galilee, Mary and Martha, and the healing of the man born blind. This score is movement 3 of a 3 movement tone poem, originally scored and premiered as a sonata for Cello and Violin. It is presented here for 5 additional solo instruments: Flute, Clarinet, Trumpet, Euphonium (or Trombone) and Violin.  Sketches of Christ is written in 20th Century Classical Music composition techniques. Various movements employ a mix of bitonality, modal harmony, deliberate dissonance, and mixed meter. Each movement dramatizes an event form the Life of Christ. This movement expresses the interactions of the man born blind, Jewish authorities, and Jesus Christ from John 9.  The score shows the parts for cello and piano, but individual parts are provided for the other solo instruments.  Includes 14 scores: Full Score for cello and piano letter size; Cello, Flute, Clarinet, Trumpet, Euphonium (or trombone), and Violin solo parts; Full Score for cello and small page format for performing from a 10 inch tablet and the same solo parts for 10 inch tablet. tablet (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)  The 3 movements of the tone poem are published separately. This tone poem is actually a more like a solo instrument and piano duet rather than a solo with a piano accompaniment.
$6.50
Jeremiah 1 - Broken Cisterns Tone Poem for Violin and Piano by Stephen R Dalrymple
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Violon et Piano
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Contemporain
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Stephen R Dalrymple
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Jeremiah 1 - Broken Cisterns T
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Stephen R Dalrymple
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SheetMusicPlus
Small Ensemble Cello,Clarinet,Euphonium,Flute,Piano,Trombone,Trumpet,Violin - SKU: A0.818327 Composed by Stephen R Dalrymple (Dalrymple Designs). Contem...
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Small Ensemble Cello,Clarinet,Euphonium,Flute,Piano,Trombone,Trumpet,Violin - SKU: A0.818327 Composed by Stephen R Dalrymple (Dalrymple Designs). Contemporary. Score and parts. 79 pages. Stephen R Dalrymple #6072159. Published by Stephen R Dalrymple (A0.818327). Jeremiah 1 - Broken Cisterns Tone Poem for Violin and Piano by Stephen R Dalrymple sequenced by the composer transcribed for solo flute, clarinet, trumpet, euphonium/trombone, & cello © 2015, Phonogram Copyright 2020 Stephen R Dalrymple The 3 movements of Jeremiah summarize 3 main themes of the prophet's messages: Jeremiah's unwavering warning of coming judgment, the fall of Judah in 586 BC, and the promised restoration of Israel through the New Covenant. This tone poem is written in the genre of contemporary classical music and is intended for the concert stage rather than church preludes and offertories. Dalrymple uses modal harmonies; polychords and polytonality; free dissonance; atonality, mixed meters, etc. to convey the drama of the Bible. Originally composed for violin and piano, it can be performed on several other instruments. Includes 14 scores/parts ♫ Full Score for violin and piano letter size ♫ Cello, Flute, Clarinet, Trumpet, Euphonium (or trombone), and Violin solo parts, ♫ Full Score for violin and small page format for performing from a 10 inch tablet and ♫ the same solo parts for 10 inch tablet. tablet (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)
$6.50
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