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Piano Facile
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Piano, Voix et Guitare
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Piano, Voix
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1 Piano, 4 mains
16
Instruments en Do
15
2 Pianos, 4 mains
11
Accompagnement Piano
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Piano Trio: piano, violon, violoncelle
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Orgue, Piano (duo)
7
Orgue, Trompette (duo)
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Clavecin
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Piano Quatuor: piano, violon, alto, violoncelle
2
Piano Quatuor: piano, 2 violons, violoncelle
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1 Piano, 6 mains
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Piano Quintette: piano, 2 violons, alto, violoncelle
2
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10
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6
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89
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12
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10
Voix duo, Piano
9
Chorale
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6
Voix Baryton, Piano
2
Voix haute
1
Voix Soprano, Orchestre
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1
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Voix Tenor
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VENTS
2 Saxophones (duo)
301
2 Flûtes traversières (duo)
198
2 Clarinettes (duo)
116
2 Hautbois (duo)
84
Flûte traversière et Piano
51
Quatuor de Saxophones: 4 saxophones
48
3 Clarinettes (trio)
45
Saxophone, Clarinette (duo)
43
Trio de Flûtes: 3 flûtes
40
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
39
Clarinette
35
Clarinette et Piano
34
Clarinette, Violon (duo)
32
Flûte, Clarinette (duo)
32
Flûte traversière
30
Hautbois, Piano (duo)
28
Quatuor de Clarinettes: 4 clarinettes
25
Saxophone Alto et Piano
25
Quatuor de Flûtes : 4 flûtes
23
Quintette de Saxophone: 5 saxophones
23
Clarinette, Trompette (duo)
23
Flûte, Hautbois, Clarinette, Basson
23
3 Saxophones (trio)
22
Saxophone Tenor et Piano
18
Hautbois, Clarinette (duo)
18
Flûte, Violon
18
Hautbois, Basson (duo)
17
Hautbois (partie séparée)
16
Saxophone Alto
16
Saxophone Soprano et Piano
16
Hautbois, Flûte
16
Clarinette et Alto
16
Flûte, Alto (duo)
14
Flûte, Saxophone (duo)
13
Flûte à bec Soprano
11
Quintette de Clarinettes: 5 clarinettes
10
Saxophone (partie séparée)
10
Saxophone Tenor
10
Flûte, Trompette (duo)
10
Clarinette, Basson (duo)
9
3 Flûtes à bec (trio)
9
Ensemble de Flûtes
9
Cor anglais, Piano
8
Ensemble de Clarinettes
8
Hautbois, Clarinette, Basson (trio d'anches)
7
Flûte, Hautbois, Clarinette (trio)
7
Ensemble De Flûte à bec
7
Ensemble de saxophones
7
Quatuor de Flûtes à bec
7
Flûte à Bec
6
Flûte, Hautbois (duo)
6
Saxophone Baryton, Piano
6
Flûte, Violon et Violoncelle
6
2 Flûte à bec (duo)
5
Flûte, Hautbois, Basson
5
Flûte, Violoncelle
5
Cor Anglais
4
Flûte et Guitare
4
Quintette de Flûte : 5 flûtes
4
2 Flûtes traversières, Piano
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Clarinette, Violoncelle (duo)
4
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4
Flute, harpe et violon
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3
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2
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2
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2
Flute (partie séparée)
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2 Clarinettes, Basson
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Flûte, Hautbois, Piano (trio)
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Ensemble à vent
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Clarinette, Trombone (duo)
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Saxophone et Orgue
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Flûte, Violoncelle, Piano (trio)
2
Flûte à bec Alto, Piano
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2 Cors Anglais Et Pianoforte
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Harmonica
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Hautbois, Violoncelle
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Saxophone Soprano
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1
Cor anglais et Harpe (duo)
1
2 Clarinettes, Piano
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4 Hautbois
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Flûte, Violon, Violoncelle et Piano
1
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Hautbois, Harpe
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Flûte, Alto et Piano
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Flûte à bec Soprano, Piano
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Instruments en Mib
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Flûte à bec Alto
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Clarinette, Violoncelle, Piano (trio)
1
Piccolo, Piano
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Clarinette, trompette et piano
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Saxophone et Harpe
1
2 Saxophones, Piano
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Flûte, Basson et Piano
1
Flûte, Violon, Piano
1
Hautbois, Basson et Piano
1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
90
2 Trombones (duo)
89
2 Trompettes (duo)
84
Trompette, Saxophone (duo)
32
Trombone et Piano
31
Quatuor de Cuivres : 2 trompettes, trombone, tuba
24
Trompette, Trombone (duo)
24
Trompette, Piano
22
Tuba et Piano
19
2 Cors (duo)
15
Ensemble de Trombones
13
Quatuor de Cuivres: 2 trompettes, Cor, trombone
12
3 Trombones (trio)
12
Trompette
11
Euphonium, Piano (duo)
10
Cor et Piano
10
Tuba
9
Trombone
9
Cor
9
Cor anglais, Piano
8
Ensemble de Trompettes
8
3 Trompettes (trio)
7
Quatuor de cuivres: 4 trombones
7
Quatuor de Cuivres
7
3 Euphoniums
7
Quatuor de cuivres: 4 cors
5
Quatuor de cuivres: 2 trompettes, 2 trombones
5
Trompette (partie séparée)
5
Cor Anglais
4
Euphonium
4
Trio de Cuivres
4
2 Tubas (duo)
4
Trombone basse
3
Trombone (partie séparée)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
2 Euphoniums (duo)
3
3 Cors (trio)
3
3 Tubas (trio)
2
Trompette, Harpe
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Cor, Violoncelle (duo)
2
Euphonium, Tuba (duo)
2
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2
2 Cors Anglais Et Pianoforte
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Cor (partie séparée)
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Cor anglais et Harpe (duo)
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2 Cors, Piano
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Trombone, Orgue
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Bass Clef Instruments
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Instruments en Fa
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Trombone basse et Piano
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Cor et Harpe
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2 Trombones, Piano
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Tuba (partie séparée)
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
298
Violon, Violoncelle (duo)
274
Trio à Cordes: violon, alto, violoncelle
223
Violon
220
2 Violons (duo)
133
2 Altos (duo)
99
2 Violoncelles (duo)
92
Violon et Piano
90
Quintette à cordes: 2 violons, alto, violoncelle, basse
77
Harpe
64
Violon, Alto (duo)
61
Alto, Piano
40
Violoncelle, Piano
33
Alto seul
27
Trio à Cordes: 2 violons, violoncelle
26
Violoncelle
24
4 Violoncelles
21
Alto, Violoncelle (duo)
18
Trio à cordes: 3 violins
13
Trio à Cordes: 2 violons, alto
10
Alto (partie séparée)
7
Harpe, Flûte (duo)
7
Trio à Cordes: 3 violoncelles
7
Violon, Guitare (duo)
6
Contre Basse
6
Contrebasse, Piano (duo)
5
Harpe, Voix
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
4
Ensemble de Violons
4
Ensemble d'Altos
4
2 Harpes (duo)
3
Violoncelle , Guitare (duo)
3
Quatuor à cordes: 4 violons
3
Contrebasse (partie séparée)
3
2 Violons, Piano
3
Alto et Harpe
2
Violon (partie séparée)
2
Violon, Clarinette, Piano (trio)
2
Trio à cordes: 3 altos
1
Harpe et Piano
1
3 Contrebasses
1
3 Harpes
1
2 Contrebasses (duo)
1
Violoncelle, Basse continue
1
Alto, Guitare (duo)
1
Harpe, Violon (duo)
1
Violoncelle, Orchestre
1
Harpe, Trombone (duo)
1
Alto et Basson
1
Quatuor à cordes : 4 altos
1
Piano Trio: Violon, Alto, Piano
1
Harpe, Violoncelle (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
208
Orchestre à Cordes
145
Orchestre
64
Cloches
56
Ensemble de cuivres
42
Orchestre de chambre
32
Ensemble de Percussions
25
Ensemble Jazz
25
Jazz combo
18
Fanfare
4
Percussion
2
Marimba
2
Batterie
1
Piano et Orchestre
1
Caisse Claire
1
Orchestre, Violon
1
Quintette de Cuivres: autres combinaisons
1
Batterie (partie séparée)
1
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7726
Old Cavalry Fanfare for 3 Bb Trumpets & Kettledrums
Trompette
Trumpet - Level 3 - Digital Download SKU: A0.978843 By Keith Terrett. By Anon. Arra…
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Trumpet - Level 3 - Digital Download SKU: A0.978843 By Keith Terrett. By Anon. Arranged by Keith Terrett. Baroque,Classical,Instructional,Traditional,Wedding. 6 pages. Keith Terrett #584509. Published by Keith Terrett (A0.978843). A Fanfare for three Bb Trumpets & Timpani. This was arranged from an old melody of unknown origin, for Eb Cavalry Trumpets and Kettledrums of the Queen’s Royal Irish Hussars Band, a former Northern Irish Regiment within the British Army; whose Colonel in Chief was HRH The Duke of Edinburgh. Winston Churchill was a young officer in the regiment, before the amalgamation of the 4th & 8th Hussars, to form the ’Queen’s Royal Irish Hussars’’. All cavalry regiments of the line, have a team of Cavalry Trumpets, who under the ’Trumpet Major’, play at 11am each day outside regimental headquarters, for the Regiment. Traditionally the fanfare ’stables’ would be played first; followed by another fanfare of the ’’Trumpet Major’s’’ choice. In cavalry regiments there is often a drum horse, on which the two timpani are positioned and played. An example would be the Queen’s Own Hussars, who for many years had a fine old drum horse, trained not to panic when the kettledrums were being played fortissimo! During the day, one trumpeter is on duty, and plays various trumpet calls throughout the day to signal important happenings in the regiment’s daily schedule of events. For example, Reveille is at 0630, Mess call at 0700, Mess call 1230, Guard mount 1800, Officers dress for dinner 2000, finishing with last post at 2200! There are also trumpet calls for fire, war and mucking out the horses! One morning when I was on trumpet duty in Germany at the tender age of 18, I woke up late, and just managed to play the ’’Reveille’’ trumpet call out of my bedroom window, in an effort not to be ’charged’ for missing a call! The equivalent in the Infantry would be the bugle, which is also used as a method of signaling to the regiment. This fanfare works well for three Bb trumpets and timpani. Eb cavalry trumpets are often written in the key of C, and harmonically there is no third on chord V due to the harmonics of the instrument, and the fact that they have no valves; giving a bare sounding chord. The trills in the first part are lip trills, on Bb trumpet, simply play a lip trill using the valves 1 & 3. The most famous Eb cavalry trumpeters in the British Army, are undoubtedly the trumpeters of the household cavalry, who perform in spectacular golden uniforms, complete with riding hats, at the state opening of parliament. Don’t forget Eb cavalry trumpeters are musicians from the band,(they could be clarinettists),assigned to trumpet for two to three years, not so good for your embouchure!! So when you hear a mis-pitched note in future, you know that the trumpeter could be a bassoonist, doing his or her very best.
$5.00
4.49 €
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Trompette
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Keith Terrett
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Keith Terrett
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Old Cavalry Fanfare for 3 Bb Trumpets & Kettledrums
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Keith Terrett
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SheetMusicPlus
Germaine Tailleferre: Trois Études for two pianos
2 Pianos, 4 mains
Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.534483
(+)
Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.
$32.95
29.6 €
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2 Pianos, 4 mains
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achieving the physical decline of the French, the
Nazis hope that spiritual collapse will ensue
#
Germaine Tailleferre
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Germaine Tailleferre: Trois Études for two pianos
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Four Forces (First movement) I. Strong Forces
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvado…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pages. Salvador Rojo-Gamon #5801913. Published by Salvador Rojo-Gamon (A0.962406). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$300.00
269.47 €
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Ensemble de Percussions
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
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SheetMusicPlus
Four Forces (Second movement) II. Weak Forces
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvado…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pages. Salvador Rojo-Gamon #5801921. Published by Salvador Rojo-Gamon (A0.962405). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$150.00
134.73 €
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Ensemble de Percussions
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
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SheetMusicPlus
Chamber Music for Three Clarinets, Vol. 1 (Easy)
Clarinette
Clarinet SKU: HL.4474550 Composed by Various. Edited by H. Voxman. Arranged by H. V…
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Clarinet SKU: HL.4474550 Composed by Various. Edited by H. Voxman. Arranged by H. Voxman. Ensemble Collection. Classical, Collection. 40 pages. Rubank Publications #RUBL273. Published by Rubank Publications (HL.4474550). ISBN 9781423444985. UPC: 073999745504. 9.0x12.0x0.101 inches.Easy clarinet trios in score form. Suitable for contest, concert or church performance, these pieces appear on several state contest lists. Includes works by Billings, Corelli, Faber, Grieg, Handel, Mozart, Schubert, Tchaikovsky and others.
Song List: Allemande Gavotte Sweet Betsy From Pike The Three Kings Song Sailor's Dance Menuet(Div.In D K334) Mozart Allegro (Mozart) Minuet (Buttstedt) Begone, Dull Care Bourree(Ry.Fireworks Handel) Ecossaise (Hummel) Entr'acte (Rosamunde) Schubert Farewell To Forest (Mendelssohn) Gaillarde March (Fischer) March (Part.In F Faber) March In C (Kranz) May Dance Menuet (Trio #3op.57 Bouffil) Minuet (Faber) Sarabande (Schleswig) Three Old Dutch Dances Two Early American Airs Valse Lent (Kranz) Warily! (Ramann) Come, Companions (Round) Glass Was Just Tim'd,The (Catch) Great Apollo & Bacchus (Catch) Haste Thee, Nymph (Round) German Dance Chester Old French Song, Op. 39, No. 16 Come, Follow Me (Round) Scale, The (Round) Soldier's March (Soldatenmarsch), Op. 68, No. 2 Watchman's Song, Op. 12, No. 3 Drink To Me Only With Thine Eyes
$8.99
8.08 €
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Clarinette
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Various
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H
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Chamber Music for Three Clarinets, Vol. 1
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Rubank Publications
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SheetMusicPlus
Brass Quintet - Three Pastoral Sketches
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Services #6422239. Published by Lyons Music Services (A0.767578). These three pieces form a small suite, linked by the idea of ‘pastoral’ or rustic situations and places. The first piece to be written now forms the middle movement, though at first it was the starting point. This is not easy music. It travels through several keys with large numbers of sharps and flats and in places the time signature shifts constantly. The first movement is modal, being based on the mixolydian and dorian modes. I took for this movement the idea of ancient Celts celebrating a victory and dancing and getting drunk around a smoky fire. Their chieftain strikes up a song, accompanied by a double drone. This melody is initially stated on the horn, with just two other instruments providing the accompaniment. At 4 before B, the remaining instruments join in, providing a rhythmic pulse and the melody moves to the Euphonium/Baritone/Trombone. Subtle variations shape the melody anew, leading to letter C. Here the complex overlapping rhythms provide a more dance-like feel to the music. Also, countermelodies start to appear which build the excitement. At letter E, the music becomes louder and the rhythmic pulse more insistent (perhaps they are dancing on the tables?) The mode changes to the more major sounding mixolydian. But from here on in, the revellers are starting to wend their way home, still singing and dancing and they gradually fade into the distance. At letter G, we’re back to three players, but with the trumpet 1 playing a rhythmic melody over the top of the original tune. The second movement is called The Aesthetes. The aesthetic movement was formed in the 19th century, but had been around before that in less formal garb. Their ideal was to emulate the Ancient Greeks and Romans – or at least their perception of what the ancients were like as found in statues, paintings and friezes. They adopted studied poses and were very effete in their mannerisms. Gilbert and Sullivan parodied the aesthetic movement in their operettas – particularly Princess Ida (but also in the Mikado and various others). So, here is a movement with classical lines in the style of a minuet, but in 6/8 rather than ¾ so that it can be more languid. All the melodies are ‘studied’ and ‘formal’ with long, languid notes and rhythms which don’t quite fit to the beat as the aesthetes pose and ponder and languidly look, studied and pale and wan. Because of the long notes in the melody, there’s an almost dream-like quality to the music as if they are seeing through a haze of Wormwood or Absinthe (a favourite drink of the aesthetes when they weren’t high on themselves or opiates). The third and final movement is called The Bohemians. This was also a movement at the end of the 19th Century. Where the aesthetes were ruled by rules, the Bohemians lived by none. They were considered wild and unconventional to say the least. The Bohemians movement owed much to the supposed free life and style of the gypsies and wanderers of Europe. Our piece starts with a gypsy violin style opening, including a cadenza, and then moves into the rapidly time shifting and gyrating gypsy dance. This section is in alternating bars of 5/8 and 6/8 with occasional 11/8 thrown in to keep you off balance. The frantic and frenetic movement continues up to letter F where things calm down a little – but not for long as the intensity increases again from Letter H to the quite sudden ending. This is tuneful yet challenging music which will take a lot of effort, but which will give a lot back in return.
$28.00
25.15 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Mike Lyons
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Brass Quintet - Three Pastoral Sketches
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Lyons Music Services
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SheetMusicPlus
AMORI: 8 madrigals for male chorus
Chorale TTBB
Choral Choir,Choral (TTBB) - Level 5 - Digital Download SKU: A0.1399301 Composed by…
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Choral Choir,Choral (TTBB) - Level 5 - Digital Download SKU: A0.1399301 Composed by Alessandro Palazzani. 21st Century,Classical,Opera,Renaissance,Romantic Period. 70 pages. A work by Alessandro Palazzani #982575. Published by A work by Alessandro Palazzani (A0.1399301). AMORI (Loves): Eight madrigals on texts by Giovan Battista Marinofor four-part male choirCONTENTS:1. OCCHI (Eyes)2. ERRORI DI BELLA CHIOMA (Beautiful hair wanderings)3. BELTA’ CRUDELE (Cruel Beauty)4. BELLA CANTATRICE (Beautiful Singer)5. AMOR SECRETO (Secret Love)6. PENDENTI IN FORMA DI SERPI (Pendants in the Shape of Snakes)7. LONTANANZA CONSOLATA (Consoled Distance)8. OCCHI (Eyes)The collection comprises eight Madrigals that alternate between different musical styles. In odd numbers, there are more meditative pieces that closely follow the text, faithfully illustrating its keywords; instead, in even numbers, there is a more regular treatment of musical form, with bipartite or tripartite structures and thematic returns of the music, organized into livelier and more rhythmic movements. To give unity to the composition, the author adopted a series of chordal motifs that serve as leitmotifs, formed by two or three chords symbolizing some basic concepts that cyclically reappear in the various pieces (love, life, death, etc.).The ensemble comprises four parts: first tenor, second tenor, baritone, bass, which can be performed by soloists or by a choral group. In the piece Bella Cantatrice, it is possible to entrust the main melody to a tenor soloist. Although a reduction for piano is printed in the score, its purpose is only to support the voices during rehearsal. Public performance is intended for a cappella voices.
$3.00
2.69 €
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Chorale TTBB
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Alessandro Palazzani
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AMORI: 8 madrigals for male chorus
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A work by Alessandro Palazzani
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SheetMusicPlus
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestre
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de lo…
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Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00
35.03 €
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Orchestre
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Manuel de Espinosa de los Monteros (1730-1810)
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Keith Terrett
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Spanish National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
Concerto for Trombone and Piano accompaniment (piano reduction)
Trombone et Piano
Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Class…
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Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983). This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.
$35.00
31.44 €
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Trombone et Piano
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Cherry Classics Music
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John, W
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Concerto for Trombone and Piano accompaniment
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Gordon Cherry
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SheetMusicPlus
16 Favourite Easter Hymns for Saxophone Quartet AAAT, three Alto and one Tenor Saxophone
Quatuor de Saxophones: 4 saxophones
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Tenor Saxophone - Level 2 - Digital Down…
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.587862 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred. 64 pages. David McKeown #5031039. Published by David McKeown (A0.587862). 16 Favourite Easter Hymns for Saxophone Quartet AAAT is a beautiful collection of well-known traditional Easter hymns. They are arranged in four parts for three Alto and one Tenor Saxophone. Separate parts are included with the score in one single pdf file. You can watch and listen to two of these hymns via the youtube link above. 16 Favourite Easter Hymns for Saxophone Quartet AAAT are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 16 Favourite Easter Hymns for Saxophone Quartet AAAT useful for building ensemble, reading and rhythmic skills.The hymns are in alphabetical order and are as follows…· All Creatures of Our God and King, (Lasst Uns Erfreuen)· All Hail the Power of Jesus Name, (Coronation)· Before the Throne of God Above, (Before the Throne)· Blessed Assurance, (Blessed Assurance)· Christ the Lord is Risen Today, (Easter Hymn)· Crown Him with Many Crowns, (Diademata)· The Day of Resurrection, (Ellacombe)· Just as I Am, (Woodworth)· I Know that My Redeemer Lives, (Bradford)· It is Well with My Soul, (Ville du Havre)· A Mighty Fortress is Our God, (Ein Feste Burg)· Nothing But the Blood of Jesus, (What Can Wash Away My Sin)· There is a Green Hill Far Away, (The Green Hill)· Thine Be the Glory, (Judas Maccabeus)· Were You There? (Were You There?)· When I Survey the Wondrous Cross, (Hamburg) There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$9.99
8.97 €
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Quatuor de Saxophones: 4 saxophones
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Various
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David McKeown
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16 Favourite Easter Hymns for Saxophone Quartet AAAT, three Alto and one Tenor Saxophone
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David McKeown
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SheetMusicPlus
Three Pieces for Two Violins and Piano
Two Violins, Piano - Digital Download SKU: IZ.PDP300 Composed by Rebecca Clarke. Sc…
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Two Violins, Piano - Digital Download SKU: IZ.PDP300 Composed by Rebecca Clarke. Score and Parts. 52 pages. Imagine Music - Digital #PDP300. Published by Imagine Music - Digital (IZ.PDP300). 9 x 12 inches.Clarke worked on the Pieces for Two Violins and Piano during 1909, her last year at the Royal College, when Danse Bizarre gained her a scholarship. Clarke mentioned Danse Bizarre in her typescript memoir composed in the 1970s, and also discussed it with me in 1977 while helping me catalogue her compositions, but she said then that it was long lost, and made no mention of any related material. In the year 2000, however, Clarke's great-nephew Daniel Braden found.a box that Clarke had put in the back of a closet decades before and evidently forgotten, which turned out to contain a chaotic assortment of letters, papers, medical records, and music-manuscript sheets. When put in order, the latter yielded the missing inner leaf of an important viola piece and a number of previously unknown or presumed-lost arrangements and compositions, including ''Danse Bizarre and a Prelude, a Nocturne, and the beginning of a Finale for the same instruments, on the same paper, and bearing similar markings in Clarke's hand and in at least one other hand, which may well be Stanford's. The four movements were plainly developed as a suite, although there is nothing to suggest a sequence for the inner movements, and no compelling reason to believe that the Finale ever got beyond the extant eight pages. The manuscript of the Finale is noticeably rougher than those of the other movements, and several pencil-markings, apparently in another hand, suggest that some of its motivic material had not yet jelled. It seems entirely possible that Clarke had only begun this movement when a family crisis forced her to leave the College, and that she never returned to it. In any case, there is not enough of the Finale to make performance feasible, but the other movements stand quite magnificently on their own. They were recorded by Lorraine McAslan, David Juritz, and Ian Jones on Dutton CDLX 7132, released in 2003. The first public performance, by students at the Royal College under Jones's supervision, took place in May 2005 in the College's Concert Hall, where Clarke had last performed nearly a century before.
$32.00
28.74 €
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Rebecca Clarke
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Three Pieces for Two Violins and Piano
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Imagine Music - Digital
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SheetMusicPlus
Audacious Binary Forms for Pianist (one or two pianos)
Piano seul
Piano Solo - Digital Download SKU: A0.901081 Composed by Paul Copeland. 20th Centur…
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Piano Solo - Digital Download SKU: A0.901081 Composed by Paul Copeland. 20th Century,Contemporary. Score. 50 pages. Paul Copeland #5988217. Published by Paul Copeland (A0.901081). Audacious Binary Forms for pianist playing one or two pianos, won Australia’s most prestigious piano composition competition the Jean Bogan Prize for Piano Composition 2016. The world premiere was performed by Michael Kieran Harvey. He is considered by many as being one of Australia’s greatest living concert pianists. Michael specializes in performing world premieres of compositions by Australian composers. He is also a prolific composer of avant-garde music. ABSTRACT FROM THE GENERAL DIRECTIONS Audacious Binary Forms for piano is in a fractured binary form. Two types of structures exist; lettered structures, which are experimental structures, and explore the sonorities of the piano, and numbered structures, which are more traditional structures. A structure may be a single page or more than one page. Each page in a structure is to be played sequentially. For example, with structure C, consisting of three pages, C1, C2, C3, each page is played sequentially in numerical order, C1, C2, C3. EXPERIMENTAL STRUCTURESThe structures A, B, C, D, E, F, G, Percussion, CADENZA, and CODA are experimental. TRADITIONAL STRUCTURESThe structures 1, 2, 3, 4, 5, and 6, are traditional. PREPARING THE SCORE FOR PERFORMANCE There are four different options for a performance. MINIMALIST OPTIONThe 13 cards cut from the CUTOUT page are shuffled. Card 4 Rag (1,2) is removed. The 12 cards are placed face down. One card is revealed representing the structure that is to be performed. A member of the audience can be invited to shuffle the cards. STOCHASTIC OPTION An audience member or members can be invited to shuffle all the pages of the score. The resultant random sequence of pages becomes the whole score for the performance. PERFORMER’S OPTIONThe performer prepares the structures according to his musical tastes. All of the experimental structures should be performed. The performer is free to play none, some, or all of the traditional structures. Please note that each structure remains an independent structure and is played sequentially. For example, structure C, consisting of three pages would be played C1, C2, C3 in that order. PERFORMER/COMPOSER OPTIONMonths before the concert the performer can contact me at paulcopeland1@bigpond.com, to discuss the performance, and to work out an ideal performance structure for the work, taking into consideration the venue, expected size of audience, size of auditorium, music program, and if two pianos will be available. IMPORTANT INFORMATION REGARDING SHEET MUSIC SIZE Please note that the score should be printed on separate pages (the notated pages), not back to back. Ideally the score should be printed on A3 pages in colour. However the score can still be printed in grayscale. The sheet music file is approximately 15Mb because the score is in full color. BIOGRAPHICAL INFORMATION Paul Copeland is an award-winning multi-genre composer, graphic artist, programmer, teacher, and author, based in his home city of Melbourne. His compositional styles range from neo-classical, jazz, ragtime, and musical theatre to electronic, avant-garde, post-avant-garde, and experimental music. Born in 1947, Copeland grew up an only child in a musical household. His mother was a talented singer, his father an accomplished amateur pianist, composer of popular music, and internationally renowned travelling telepathist known as Argus The Boy Prophet. Copeland's musical studies commenced at the age of 16 when he began studying piano, and a year later, he enrolled at the Melba Conserv.
$20.00
17.96 €
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Piano seul
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Paul Copeland
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Audacious Binary Forms for Pianist
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Paul Copeland
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SheetMusicPlus
Two Miniatures
Ob. Cl. Bsn. - Intermediate - Digital Download SKU: F2.FM511 Composed by Graham Nel…
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Ob. Cl. Bsn. - Intermediate - Digital Download SKU: F2.FM511 Composed by Graham Nelson. Oboe Clarinet and Bassoon. Score and Parts. 19 pages. Forton Music - Digital #FM511. Published by Forton Music - Digital (F2.FM511). ISBN 9790570484102.My fascination with the timbral qualities and myriad colours of the woodwind family was the stimulus that led to the creation of these two short pieces for this combination. Composed a number of years ago, both have been revised in the light of experience gained over the passage of time. Aside from the fanfare-like opening, each Miniature is cast in ternary form. The harmonic language could best be described as neo-tonal but with a chromatic twist (notably in the second). Melodic opportunities are shared consistently between the three instruments, often being extended by imitative interplay or antiphonal exchange (especially in the first). A recurring rhythmic motif in both pieces - a dotted quaver idea in the former and a triplet quaver figure in the latter - helps to bind the texture together. The descriptive titles are intended to convey the underlying character of each: 'The Dancing Doll' should sound bright, breezy and playful, whereas 'The Doleful Doll' is much more introspective and reflective in mood. Finally, the technical and musical demands in the two Miniatures should be within the capabilities of players of intermediate to advanced standard.
$12.95
11.63 €
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Graham Nelson
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Two Miniatures
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Forton Music - Digital
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SheetMusicPlus
Morceau Vaguement en Forme de Sonate
3Fl. Afl. BFL. - Intermediate-Advanced - Digital Download SKU: F2.FM656 Composed by…
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3Fl. Afl. BFL. - Intermediate-Advanced - Digital Download SKU: F2.FM656 Composed by Alexandra Lehmann. Mouvement Vaguement en Forme de Sonate was composed during the summer of 2016 in Eastbourne with the aim of experimenting; and at times playing around with the established sonata form, hence the title. There are two themes, both moulded from three ascendi. Score and Parts. 28 pages. Forton Music - Digital #FM656. Published by Forton Music - Digital (F2.FM656). ISBN 9790570485550.
$12.95
11.63 €
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Alexandra Lehmann
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Morceau Vaguement en Forme de Sonate
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Forton Music - Digital
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SheetMusicPlus
16 Favourite Easter Hymns for Clarinet Quartet or Choir
Quatuor de Clarinettes: 4 clarinettes
Woodwind Ensemble,Woodwind Quartet Clarinet - Level 2 - Digital Download SKU: A0.587859…
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Woodwind Ensemble,Woodwind Quartet Clarinet - Level 2 - Digital Download SKU: A0.587859 Composed by Various. Arranged by David McKeown. Easter,Praise & Worship,Sacred. 80 pages. David McKeown #5031033. Published by David McKeown (A0.587859). 16 Favourite Easter Hymns for Clarinet Quartet or Choir is a beautiful collection of well-known traditional Easter hymns. They are arranged in four parts for three Bb Clarinets and one Bass Clarinet. Separate parts are included with the score in one single pdf file. Alternative parts 1 and 3 for Eb Soprano Clarinet and Eb Alto Clarinet are also included. You can watch and listen to two of these hymns (the Saxophone Quartet version), via the youtube link above.16 Favourite Easter Hymns for Clarinet Quartet or Choir are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 16 Favourite Easter Hymns for Clarinet Quartet or Choir useful for building ensemble, reading and rhythmic skills.The hymns are in alphabetical order and are as follows…· All Creatures of Our God and King, (Lasst Uns Erfreuen)· All Hail the Power of Jesus Name, (Coronation)· Before the Throne of God Above, (Before the Throne)· Blessed Assurance, (Blessed Assurance)· Christ the Lord is Risen Today, (Easter Hymn)· Crown Him with Many Crowns, (Diademata)· The Day of Resurrection, (Ellacombe)· Just as I Am, (Woodworth)· I Know that My Redeemer Lives, (Bradford)· It is Well with My Soul, (Ville du Havre)· A Mighty Fortress is Our God, (Ein Feste Burg)· Nothing But the Blood of Jesus, (What Can Wash Away My Sin)· There is a Green Hill Far Away, (The Green Hill)· Thine Be the Glory, (Judas Maccabeus)· Were You There? (Were You There?)· When I Survey the Wondrous Cross, (Hamburg) There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$9.99
8.97 €
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Quatuor de Clarinettes: 4 clarinettes
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Various
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David McKeown
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16 Favourite Easter Hymns for Clarinet Quartet or Choir
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David McKeown
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SheetMusicPlus
Three Pieces for Cor Anglais
Cor Anglais and Piano - Intermediate - Digital Download SKU: F2.FM198 Composed by L…
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Cor Anglais and Piano - Intermediate - Digital Download SKU: F2.FM198 Composed by Lenny Cavallaro. Score and part. 16 pages. Forton Music - Digital #FM198. Published by Forton Music - Digital (F2.FM198). ISBN 9790570480975.Cor Anglais and Piano. Three original pieces, two in a baroque style (a Moderato movement, and a separate fugue) have been left very plain to allow performers to add their own dynamics, articulation and additional ornamentation. the other - a Song without Words - is more classical in style, and allows this under-used instrument to show it's expressive qualities. All are beautifully lyrical, and would make great additions to the concert platform.
$9.95
8.94 €
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Lenny Cavallaro
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Three Pieces for Cor Anglais
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Forton Music - Digital
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SheetMusicPlus
Invention No. 2 in D minor for three voices
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1141383 Composed by Robert W. Padge…
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Piano Solo - Level 3 - Digital Download SKU: A0.1141383 Composed by Robert W. Padgett. Baroque,Classical,Contest,Festival,Instructional,Traditional. Score. 3 pages. Padgett Music Llc #741707. Published by Padgett Music Llc (A0.1141383). This three-part Invention No. 2 in D minor was composed in the summer of 1991. I shared it with my modal and tonal counterpoint instructor, Professor Richard Wilson, and he responded favorably to my venturesome modulations and use of the Neapolitan chord. Similar to my first invention in A minor, the motive is announced by the upper voice before it is restated an octave lower by the lower voice in bar 2 to form a stretto. In bar 3, the middle voice states the motive in the dominant key of A minor with the lower and upper voices playing the first and second countermotives respectively. An episode ensues and arrives at a half cadence in bar 8. The opening fragment of the motive is exploited in conjunction with a pedal tone and a variant of the second countermotive to navigate through a series of contrasting keys. At bar 14, the motive is reasserted in F-sharp minor layered over itself in stretto with a C-sharp pedal tone in bar 15. The voices from the episode in bars 5-8 are reshuffled in bars 18-21 as another exercise in invertible counterpoint. In measure 16, the motive and two countermotives are reprised in C-sharp minor, a half step below the tonic key. Starting in bar 18, the episode from bars 6-8 is reprised in F-sharp minor with the first and second countermotives exchanging positions. This is followed in bars 16-27 by a varied restatement of the episodic sequence from bars 8-17 that cadences in bar 27 before a restatement of the subject in bar 28 in G minor with slightly embellished countermotives. Bars 32-35 present a restatement of the episode from bars 5-8 with the motive relocated to the lower voice and the two countermotives in intimate proximity in the two upper voices. An unexpected descending scale in a series of compound harmonic 10ths forms an inversion of the second half of the motive and sets the stage for a perfect cadence to a Picardy Third in D major. After so many years, I remain especially pleased with the effect of that ending.
$3.99
3.58 €
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Piano seul
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Robert W
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Invention No. 2 in D minor for three voices
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Padgett Music Llc
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SheetMusicPlus
A Collection of Airs for Three or Two Performer's on the Piano Forte
Piano seul
Piano - Digital Download SKU: LV.15912 Arranged by J. Willson. Lester S. Levy Colle…
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Piano - Digital Download SKU: LV.15912 Arranged by J. Willson. Lester S. Levy Collection. 15 pages. Published by Johns Hopkins University Sheridan Libraries (LV.15912). A Collection of Airs for Three or Two Performer's on the Piano Forte. Selected and Arranged by J. Willson. Published [1799-1803] by J. & M. Paff, Broadway in New York. Composition of three sectional works for piano four-hands, with additional line for melodic instrument (doubles treble of primo piano part). with piano instrumentation. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.38 €
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Piano seul
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J
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A Collection of Airs for Three or Two Performer's on the Piano Forte
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Suit Suite for Three Euphoniums and Three Tubas
3 Euphoniums
Brass Ensemble Euphonium,Tuba - Level 4 - Digital Download SKU: A0.754940 Composed …
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Brass Ensemble Euphonium,Tuba - Level 4 - Digital Download SKU: A0.754940 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 56 pages. Sy Brandon #3224881. Published by Sy Brandon (A0.754940). This composition, composed for the Kansas State University Tuba-Euphonium Ensemble, is inspired by the suits of a deck of cards and their associated representations. It is in one continuous movement that is divided into four sections. Spades (death) is a funeral march that uses frequent dotted rhythms, outbursts of anger, and a lyrical, somber descending melody. A change of mood that is accomplished by brightening the harmony leads into Hearts (romance). This section follows a loose AABA form. The A sections contain lyrical lines and lush harmony. The B section is freer in rhythm and represents a dialogue between two lovers. The last measure of this section introduces a dotted rhythm motive that is used throughout the next section, Diamonds (riches). This section is subtitled riches instead of wealth because riches implies money for money's sake rather than the benefits it can buy. It is in the style of a frenzied waltz as if those with the riches are at an elaborate ball totally unaware of the restlessness going on around them. Towards the end of this section, a chromatic line begins to insert itself, suggesting the uprising and war (Clubs) that follows. A flutter-tongued chord transitions the listener into Clubs (war) section. This section begins powerfully with repeated chords resembling people shooting at each other. The shooting motif appears frequently throughout. Different melodic ideas represent the battle between the euphoniums and the tubas. The tide of the battle keeps going back and forth, but nobody actually wins. The piece ends with the sound of death and destruction, therefore starting the cycle of the suits over again.
$14.99
13.46 €
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3 Euphoniums
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Sy Brandon
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Suit Suite for Three Euphoniums and Three Tubas
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Sy Brandon
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SheetMusicPlus
Ten Christmas Carols for 13-note Bells and Boomwhackers® (with Black and White Notes)
Large Ensemble Boomwhackers,Handbell,Handchime,Multi-Percussion,Orff Instrument,Recorder,V…
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Large Ensemble Boomwhackers,Handbell,Handchime,Multi-Percussion,Orff Instrument,Recorder,Voice,Xylophone - Level 1 - Digital Download SKU: A0.569918 By Sharon Wilson. By Various. Arranged by Sharon Wilson Music. Children,Christmas,Folk,Holiday,Sacred. Score and parts. 78 pages. Sharon Wilson #6137843. Published by Sharon Wilson (A0.569918). This collection of 10 Christmas songs is notated for 13-note (one octave, C to C chromatic scale) instruments with Handbells on one staff and Boomwhackers® on a second staff creating a 2-part instrumental ensemble (requires one set of each instrument). For each song there is a combined score with both parts on a grand staff plus a separate 1-staff score for each individual part. A note chart is also provided for each song as well as a chord chart when appropriate. This set of scores uses black and white noteheads and is best suited for musicians already familiar with reading standard music notation. For beginning musicians, this same set of scores is available (sold separately) with color coded noteheads. Only filled noteheads (quarter and eighth notes) are used so the notes are easier to see (this does not indicate the bells need to be silenced immediately before the next beat). Also, only quarter rests are used to help visualize the number of beats per measure. Lyrics are provided as well to aid in the learning and teaching of these songs. The number of ringers and whackers needed will vary depending on the skill level of the participants. For more advanced players, each person could be assigned two or three notes. For beginners, it is best to assign one note to each person. Note assignment suggestions are provided for each song. Though this sheet music is notated for Handbells and Boomwhackers®, these arrangements are playable by any 13-note (one octave, C to C chromatic scale) instrument such as a xylophone, glockenspiel, or recorder. For those songs with chords provided, a ukulele could be included in the ensemble. Other suggestions and uses: * have both parts played by bells or both parts played using only Boomwhackers® * form a choir using multiple sets of bells and/or Boomwhackers® (this would amplify the sound and allow more people to participate) * use as part of the music education for children at school, home, or church* these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groups, just to name a fewEach of the 10 Christmas Carol arrangements is also available separately with accompanying preview pages and audio samples. Titles included in this collection: Away in a MangerBring a Torch, Jeannette, IsabellaGood King WenceslasI Saw Three ShipsIn Little Bethlehem (Wind Through the Olive Trees) O Come, All Ye FaithfulThe Friendly BeastsPat-a-PanWe Three KingsWho Is He in Yonder Stall?Boomwhackers® is a registered trademark of Rhythm Band Instruments, LLC, Fort Worth, TX. Used by permission.Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$19.99
17.96 €
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Sharon Wilson
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Sharon Wilson Music
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Ten Christmas Carols for 13-note Bells and Boomwhackers®
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Sharon Wilson
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SheetMusicPlus
Scale Forms for Classical Guitar - two and three octaves
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.775461 Composed by John Pinno. Ins…
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Solo Guitar - Level 4 - Digital Download SKU: A0.775461 Composed by John Pinno. Instructional. Individual part. 4 pages. John Pinno #3547705. Published by John Pinno (A0.775461). Two and three octave scales for classical guitar, including major and melodic minor scales, and in three octaves when possible, and two octaves when not. These are presented as a basic form, and as the form is learned, the same fingerings can be used, beginning on successive frets. These forms were based loosely on those of Andres Segovia, but with some modifications.
$7.00
6.29 €
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Guitare
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John Pinno
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Scale Forms for Classical Guitar - two and three octaves
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John Pinno
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.53 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.53 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
50 Menuets (1728) for Two Violins or Mandolins; or Oboe, Recorder or Flute with Mandolin or Violin
Large Ensemble Flute,Mandolin,Oboe,Soprano Recorder,Tenor Recorder,Violin - Level 2 - Digi…
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Large Ensemble Flute,Mandolin,Oboe,Soprano Recorder,Tenor Recorder,Violin - Level 2 - Digital Download SKU: A0.917070 Composed by Georg Philipp Telemann. Arranged by John Goodin. Instructional. Score and parts. 52 pages. Rosie and Earl Music #4347897. Published by Rosie and Earl Music (A0.917070). G.P. Telemann was one of the most prolific composers in history. According to Steven Zohn in his Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works (Oxford University Press, 2008) the menuets in this collection were first published by the composer in Hamburg in 1728 under the title Sept fois sept et un menuet (Seven times Seven plus One Menuets), and most likely were issued to subscribers in groups of seven throughout the year. While only a combined score with melody lines in the treble clef and figured bass has survived, an advertisement from the time suggests that either part may have been available on its own. These arrangements have been created by raising the bass line into the treble clef, creating a part playable by mandolin, violin or any other instrument capable of reaching the G below middle C. I was able to preserve the shape of the bass lines in most cases although I did sometimes have to ignore octave leaps and, in two or three spots (with great reluctance), I was forced to change a note.These duos are both educational and fun. They are suitable for both private enjoyment and public performance and make excellent teaching tools.
$15.00
13.47 €
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Georg Philipp Telemann
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John Goodin
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50 Menuets
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Rosie and Earl Music
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SheetMusicPlus
Three Pieces
Basoon quatet 4 bassoons - Intermediate-Advanced - Digital Download SKU: F2.FM018 C…
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Basoon quatet 4 bassoons - Intermediate-Advanced - Digital Download SKU: F2.FM018 Composed by Sir Arthur Seymour Sullivan. Arranged by Robert Rainford. Score and parts. 24 pages. Forton Music - Digital #FM018. Published by Forton Music - Digital (F2.FM018). ISBN 9790708085171.Bassoon Quartet 4 Bassoons.Pieces from Haddon Hall, Yeoman of the Guard and The Mikado. The first bassoon part reaches top Bb several times and top C once, whilst bassoon 4 descends to bottom Bb. The middle two parts are easier, but all three pieces are in Bb major so Eb's are common. Some contrapuntal sections, with some more traditional tune and accompaniment sections. Suitable for grade 4-8 players.
$9.95
8.94 €
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Sir Arthur Seymour Sullivan
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Robert Rainford
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Three Pieces
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Forton Music - Digital
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SheetMusicPlus
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