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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CLARINETTE
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CORNET
DEEJAY
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MANDOLINE
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OCARINA
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PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
With the Right Attitude
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ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
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FLUTE DE PAN
FLUTE TRAVERSI…
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OCARINA
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ORGUE
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With the Right Attitude
Partitions à imprimer
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Fair Katrinelje and Pif-Paf-Poltrie (from the Brothers Grimm Song Cycle)
Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - Digital Download SKU: A0.800331…
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Small Ensemble Cello,Flute,High Voice,Piano - Level 5 - Digital Download SKU: A0.800331 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 43 pages. Novel Soundtrax #11219. Published by Novel Soundtrax (A0.800331). This work by Sarah Wallin is a vocal text setting for soprano, flute, cello, and piano, completed in 2008. According to Dr. Edward David Zeliff, Fair Katrinelje... is very interesting, clever, witty, and captures the quirky little scenario of this poor fellow trying so hard to line up a bride by having to go through the firewall of her entire family and then having enough umph left over to get her attention as well. It's very Stravinskyish, and the charm and humor comes through. The story of Fair Katrinelje and Pif-Paf-Poltrie is a lesser-known fairy tale found in the Children's and Household Tales of Jacob and Wilhelm Grimm, the famous Brothers Grimm. Fair Katrinelje and Pif-Paf-Poltrie is a comedic dialogue. Our hero, Pif-Paf-Poltrie, is out to seek the hand of his beloved, the Fair Katrinelje, in marriage. Being the gentleman that he is, he approaches in turn each member of his beloved's family to ask their permission. Father Hollenthe, Mother Malcho, Brother High-and-Mighty, and Sister Käsetraut all respond in turn similarly – essentially, If it's all right with everyone else, it's all right with me. The challenge for the vocalist is to convey the essence and the hilarity of the dialogue by highlighting, with the mannerisms of the voice, the attitudes and characteristics of each character speaking. Above each character's lines, it is made clear whom it is that is speaking and the emotional context within which it is being spoken. The vocalist has complete freedom to effect these roles in whatever manner and to whatever degree is deemed appropriate, provided the musical integrity of the work is kept intact.
$15.00
13.8 €
#
Sarah Wallin Huff
#
Fair Katrinelje and Pif-Paf-Poltrie
#
Novel Soundtrax
#
SheetMusicPlus
The Legend of Ramund
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.1007125 Composed by Mogens Eliasen. …
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Choral Choir (SATB) - Digital Download SKU: A0.1007125 Composed by Mogens Eliasen. Folk,Romantic Period. Octavo. 40 pages. Soverenity Enterprises Inc. #2948289. Published by Soverenity Enterprises Inc. (A0.1007125). The 40-page score is a choral symphony with a powerful lesson to modern people, based on an old Danish folk song about the young super-hero Ramund. The score is dense with contents, both musically and lyrically, and alone for that reason, the 8-minute performance takes an advanced choir.The original folk song dates back to the Viking age and consist of many episodes ofRamund's life, almost like a personal saga. Some have undoubtedly been added later,making the total number of stanzas go up around 50, but the main idea of the song isto report about a young lad, whose ideas of what is right for him to do or not doare completely unaffected by other people's opinions, including those of royalties andcelebrities. The stories are in many regards comparable to those of Beowolf.Although the stories generally are dramatic and bloody, Ramund always retains hiscool attitude and shows how unimpressed he is with power demonstrations, even hisown when he is provoked to use his strength. It is a common element throughout thestories that Ramund detests evil and aggression, and he goes to great lengths to fightpower abusers and aggressive elements. He just wants to live in peace and not haveto be bothered by all those who like to abuse power!Included in this presentation for piano and 8 voices are 11 stanzas from what is believedto be original, in English translation, with focus on clarity of meaning, more so thanpoetical rules and rhymes. The first ruling concept has been to obtain clarity and agreat fit to the music. The second concept has been to add the inspiration this old folksong has created in the mind of a modern rebel who would like to see some ofRamund's attitude to power and power abusers put into action in our modern corruptsociety. Maybe in a less bloody version, but definitely with a similar effect! The added2 stanzas and the attached coda, as well as the added lyrics to the intermezzos and theincorporated commentaries to the action should serve that purpose.In addition, the original tune itself, as well as the lyrics and the intermezzo, haveinspired some musical development throughout the piece, to further accentuate themeaning and the messages about respecting each other, standing together againstabuse, and not letting power abusers get away with their crimes.The 8 voices cover ranges as follows: First sopranos: C4 through Bb5 (possibly G5); Second sopranos: C4 through E5; All altos: G3 through D5; All tenors: C3 through G#4(possibly F#4); First basses: F2 through D4; Second basses: D2 through B3
$7.00
6.44 €
#
Chorale SATB
#
Mogens Eliasen
#
The Legend of Ramund
#
Soverenity Enterprises Inc.
#
SheetMusicPlus
Guitar Concerto No3 - Lament for the Balkans
Guitare, Orchestre
Large Ensemble,Strings Cello,Double Bass,Guitar,High Voice,Viola,Violin - Level 4 - Digita…
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Large Ensemble,Strings Cello,Double Bass,Guitar,High Voice,Viola,Violin - Level 4 - Digital Download SKU: A0.942107 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Score and parts. 104 pages. Silver Sickle Publications #6359413. Published by Silver Sickle Publications (A0.942107). Lament for the Balkans for guitar, strings and mezzo sopranoIs my third work with a concertante attitude towards the guitar. It was premiered in the Corfu Guitar Festival in 1999 under the direction of Theodore Antoniou.The initial idea and inspiration came to me after the tragic events in the former Yugoslavia those years. The guitar has a narrative role while the string orchestra expresses visions of laments here and there. At the work a soprano is heard from almost far a way lamenting the victims of another war.The tragic situation of all wars in this world compels me as a creator and performer to express feelings through my music. For this important reason and with the hope that my music would be able to transfer a message against war and to evoke feelings towards peace, I composed Lament. As a composer, I think that I have the obligation and, at the same time, the right to fight using my weapons against any war that causes violence, abandonment, and misery.
$345.00
317.5 €
#
Guitare, Orchestre
#
Apostolos Paraskevas
#
Guitar Concerto No3 - Lament for the Balkans
#
Silver Sickle Publications
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.08 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
The Wild Flower's Song - Alto Solo
Voix Alto, Piano
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1262040 Composed by Phil…
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1262040 Composed by Phil Rawle. Classical,Contemporary,Folk. 3 pages. Phillip Rawle #855098. Published by Phillip Rawle (A0.1262040). ‘The Wildflower’s Song’ speaks of the joy that can come with simplicity and being grounded in the things that matter. By keeping the right priorities and a good mind frame, beauty can be found in the less polished parts of life, and with that idea in mind, there is no need to let “scorn†hinder a positive attitude that is linked to good things. This “Wild Flower†is a representation of a thriving, enduring mindset that can be achieved through those right priorities—that even with “scorn,†there can be “joy.†A song for Alto Solo with Piano accompaniment.
$5.00
4.6 €
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Voix Alto, Piano
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keeping the right priorities and a good mind frame, beauty can be found in the less polished parts of life, and with that idea in mind, there is no need to let “scorn†hinder a positive attitude that is linked to good things
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Phil Rawle
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The Wild Flower's Song - Alto Solo
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Phillip Rawle
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SheetMusicPlus
Basic 12 Bar Blues with added Boogie Woogie Riff for Mountain Dulcimer
Dulcimer
Dulcimer,Instrumental Solo - Level 2 - Digital Download SKU: A0.1457985 By Jaymie M…
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Dulcimer,Instrumental Solo - Level 2 - Digital Download SKU: A0.1457985 By Jaymie Maham. By Jaymie Maham. Arranged by Jaymie Maham. Blues,Contemporary,Rock. Individual part. 2 pages. Jaymie Maham #1036967. Published by Jaymie Maham (A0.1457985). What happens when you take the basic 12 bar blues in the key of D and mix in a doo wop riff? You get a fusion that results in a funky boogie woogie vamp! For mountain dulcimer in standard DAd (1-5-8) tuning, no extra frets are required, but a couple of extra bends in the right spots help with getting that bluesy attitude. Suggested skill level is Advanced Beginner and above. This can be practiced at any speed and the use of barr chords keeps the fingering pretty simple. This isn't intended as a complete song, but rather is a study on the blues chord progression and an exercise in strumming and timing. Get the basic pattern down and you can add a startling amount of improvisation and your own idea of what the blues should be using just basic pentatonic in the box notes/shapes.
$1.99
1.83 €
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Dulcimer
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Jaymie Maham
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Jaymie Maham
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Basic 12 Bar Blues with added Boogie Woogie Riff for Mountain Dulcimer
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Jaymie Maham
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SheetMusicPlus
String Quartet No. 3: Among Friends
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987847 Composed …
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.987847 Composed by Robert M. Greenberg. 20th Century. Score and parts. 178 pages. Robert M. Greenberg #90283. Published by Robert M. Greenberg (A0.987847). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 33 minutes Year of composition: 1995 Program Note: I. With Friends Like These II. Inner Voices III. Little Hands and Little Feet IV. Freund Barry V. Friendly Persuasion VI. All For One and One For All I've known the Alexander String Quartet since 1987. More than just colleagues, they have become my friends: I've traveled with them, performed with them, watched them rehearse, dined with them in their homes and they in mine; I know their children and they know my children. Throughout the time I've known the members of the quartet I have observed the relationship between them, that special bond shared by the members of any touring band, described by one pundit as being like a bad marriage with no sex. Such issues notwithstanding, this particular marriage works. A string quartet represents, perhaps, the ultimate musical compromise between individual incentive and the common good. In a string quartet, by definition, four distinct instrumental voices and four different instrumental roles unite to create a whole greater than its parts. And, lest we forget, behind each instrument is a person, with his own particular attitudes, feelings, needs, and, yes, issues, all of which must be tempered and blended for the common good of a good performance. Among Friends is, its liberties aside, about the four people behind the instruments of the Alexander String Quartet and their relationships with one another; the way they play, rehearse, get along and, on occasion, not get along. The first movement, With Friends Like These is gritty and contentious in tone. The players argue, debate, annoy, tease, irk, cajole, abuse, harass, form brief alliances, heap merde upon, gang up on, and otherwise find endless ways to irritate each other. It is in this movement that the individual characters of the four instrumental parts stand in highest relief: the first violin as coloratura prima donna, forever attempting to soar above it all; the second violin as the voice in the wilderness, the viola as the voice of reason and the 'cello as mover and shaker. The opening of the movement is marked argument in progress; with greatest intensity. The second, third and fourth movements are a series of portraits, played without a break. In movement two, Inner Voices, the second violin and viola are featured in a collegial and decidedly non-contentious dialogue. Movement three, Little Hands and Little Feet, is the quiet center of the quartet. It is here that the first violin finally attains the lyric heights vainly sought in the first movement. The fourth movement is a vigorous dance entitled Freund Barry. This movement honors three great friends: Dr. Barry Gardiner, whose friendship and support made the writing of this quartet possible; Gustav Mahler, whose Symphony No. 4, second movement (Freund Heine) inspired this one; and Sandy Wilson, who first encouraged me to compose my second string quartet (Child's Play) for the Alexander in 1987 and whose boisterous 'cello is Freund Barry's alter-ego. The fifth movement is entitled Friendly Persuasion. Rapid fire repeated notes, accompanimental figures and melodic lines are shuttled about from voice to voice, each time elaborated or altered in some way. In this way the music slowly metamorphoses, ultimately arriving at a version of the argumentative music that concluded the first movement. Movement six, All For One and One For All is a fast, brief coda/finale, during which the quartet plays primarily in unison, the musical antithesis of the contentious argument that began the quartet. Among Friends was commissioned by the Koussevitzky Foundation in the Library of Congress and the Alexander String Quartet. Among Friends i.
$36.00
33.13 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Robert M
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String Quartet No. 3: Among Friends
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Robert M. Greenberg
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SheetMusicPlus
With the Right Attitude
Ligne De Mélodie, (Paroles) et Accords
Small Ensemble C Instrument - Digital Download SKU: A0.1003752 Composed by Tim Well…
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Small Ensemble C Instrument - Digital Download SKU: A0.1003752 Composed by Tim Weller. Children,Contemporary,Easter,Rock. Lead Sheet / Fake Book. 2 pages. Tim Weller #5743071. Published by Tim Weller (A0.1003752).
$1.99
1.83 €
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Ligne De Mélodie, (Paroles) et Accords
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Tim Weller
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With the Right Attitude
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Tim Weller
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SheetMusicPlus
Arpeggio Attitude Etude
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.944547 Composed by Mark A. Galang. …
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Piano Solo - Level 4 - Digital Download SKU: A0.944547 Composed by Mark A. Galang. 20th Century. Score. 2 pages. Mark A. Galang #4854319. Published by Mark A. Galang (A0.944547). An original advanced piano etude by Mark A. Galang. It's training for playing rapid right-hand arpeggios and sixths for the left hand.To train both hands with both exercises, simply transpose the RH part an octave (or two octaves) lower and play with left hand then transpose LH part up one or two octaves then play with RH. Also learn the etude in all 12 keys for maximum benefit.
$3.99
3.67 €
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Piano seul
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Mark A
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Arpeggio Attitude Etude
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Mark A. Galang
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SheetMusicPlus
Another One Bites The Dust for Flute Choir
Ensemble de Flûtes
Flute Choir - Advanced Intermediate - Digital Download By Queen. Arranged by Lisa Ochoc…
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Flute Choir - Advanced Intermediate - Digital Download By Queen. Arranged by Lisa Ochoco. Score, Set of Parts. 27 pages. Published by Lisa Ochoco
This is a song that no one will expect a flute choir to play. That said, why not have a flute choir play it? This arrangement will require 1 or 2 people stamping their feet and clapping their hands throughout the whole piece. Or, you could have a drummer do his or her thing. Play this in the right style - that is, leave your sweet vibrato behind and play this percussively and with an attitude that will make Freddie Mercury proud - and this will be a winner with your audience.This is a song that no one will expect a flute choir to play. That said, why not have a flute choir play it? This arrangement will require 1 or 2 people stamping their feet and clapping their hands throughout the whole piece. Or, you could have a drummer do his or her thing.
Play this in the right style - that is, leave your sweet vibrato behind and play this percussively and with an attitude that will make Freddie Mercury proud - and this will be a winner with your audience.
$14.00
12.88 €
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Ensemble de Flûtes
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Queen
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Lisa Ochoco
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Another One Bites The Dust for Flute Choir
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Lisa Ochoco
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SheetMusicPlus
Crazy
Harpe
Harp - Level 3 - Digital Download SKU: A0.928332 By Patsy Cline. By Willie Nelson. …
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Harp - Level 3 - Digital Download SKU: A0.928332 By Patsy Cline. By Willie Nelson. Arranged by Karen Peterson. Country. Score. 3 pages. Karen Peterson #5993773. Published by Karen Peterson (A0.928332). WATCH THE Bb VERSION: You are viewing the arrangement for lap harp, which is in the key of F. To hear the Bb version played on a larger harp, go to https://www.youtube.com/watch?v=s8WfrwixqGkOverview: This Countrypolitan song made famous by Patsy Cline was written by a not-yet-famous Willie Nelson. The attitude of the protagonist has been described as variously bemused, bittersweet, and cathartic. What is it to you, and how can you bring that emotion into your playing?My double-strung arrangement sets accidentals in the LH prior to playing, allowing the song to proceed without lever flips. The optional lever flip at the very end can be easily eliminated, making this song a great opportunity to practice flipping on the right with an easy recovery if you can’t get it in time.Key and range: F major (one flat). 21x2 strings. G below middle C through F. Preset F#, G#, B natural, and C#. (LARGER HARPS: For harps with C below middle C or lower, get the Bb version here: www.sheetmusicplus.com/title/crazy-patsy-cline-for-double-strung-harp-digital-sheet-music/21815694)Lever changes: One optional lever change on the right. Set four accidentals on the left before playing.Good for: Parties, performance.Double-strung effects: Preset accidentals on the left allow for jazzy chords without lever flips. If you’ve been hesitant about moving your LH into the melody area, this is your chance to learn. You can gently move out of your comfort zone by only switching hands for these accidentals, or you can take it a step further with optional echoed notes and an optional RH lever flip.Characteristics: The LH and RH usually play together, but with several held notes and a melody that doesn’t always strike on the downbeat, the hands play separately at least 25% of the time. There are a few instances that call for wider than an octave spread. Most chords are LH 1-5-8, 1-5-7, or 1-3-5-8. The RH has almost no chords. There are very few sixteenth notes. The most complicated placements are in the introduction with one slide and one cross-over.Finger placement: Finger number suggestions are provided for key phrases with bolded L/R for levered accidentals. Numbers above the notes are suggestions for the RH (marked with R or R# when they occur in the bottom staff). Numbers below the notes are suggestions for the LH (marked with L or L# when they occur in the top staff).Notation: Chord symbols are provided; lyrics are included separately. Treble clef used in both staves.Length: 2 pages. 40 measures. 2:30 minutes.Page turns: None if you print.
$5.99
5.51 €
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Harpe
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Patsy Cline
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Karen Peterson
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Crazy
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Karen Peterson
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SheetMusicPlus
Three Impudent Arias (Downloadable)
Voix moyenne, Piano
Medium voice and piano - Moderately Difficult - Digital Download SKU: MQ.8677-E Com…
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Medium voice and piano - Moderately Difficult - Digital Download SKU: MQ.8677-E Composed by Steven Mark Kohn. 27 pages. E. C. Schirmer Music Company - Digital #8677-E. Published by E. C. Schirmer Music Company - Digital (MQ.8677-E). English.The texts for these songs are adapted from Ambrose Bierce (1842-1914), one of America’s most fearless and biting satirists. It is safe to say that these songs are probably not for every performer. They require a good dose of theatrical dash and a bit of raw nerve, not exactly your formal recital staples. While they do have a suggestively masculine tone, a female singer with the right irreverence and attitude could certainly bring them off. (The composer suggests that these three songs be performed as a set as opposed to individually. They were constructed to achieve a certain balance as a set.) Duration 10:00Contents:1. The Saint and the Monk2. Something in the Paper3. The American League for the Circumvention of Bores.
$19.95
18.36 €
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Voix moyenne, Piano
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Steven Mark Kohn
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Three Impudent Arias
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
You Sent Me Flying
Instruments en Do
C Instrument - Level 3 - Digital Download SKU: A0.1350321 By Amy Winehouse. By Amy …
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C Instrument - Level 3 - Digital Download SKU: A0.1350321 By Amy Winehouse. By Amy Winehouse and Felix Howard. Arranged by Teresa Young. Jazz,Pop,Singer/Songwriter. Lead Sheet / Fake Book. 3 pages. Teresa Young #935111. Published by Teresa Young (A0.1350321). Teresa Young's lead sheet for Amy Winehouse's confessional You Sent Me Flying came about as most do for her, because someone requested it. A young woman with the right voice and attitude wanted to interpret the song, without working from a clunky piano-based arrangement that was the only one she could find. The resulting lead sheet has everything you need, including guitar chord diagrams, and nothing you don't.
$3.99
3.67 €
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Instruments en Do
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Amy Winehouse
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Teresa Young
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You Sent Me Flying
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Teresa Young
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SheetMusicPlus
Say My Name
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1505776 By Destiny's Child. By Beyonce Knowles, Fred Jerkins, Kelendria Rowland, LaShawn Daniels, LaTavia Roberson, LeToya Luckett, and Rodney Jerkins. Arranged by Sarah Cellobat Chaffee. Hip-Hop,Pop,R & B. 19 pages. Sarah Cellobat Chaffee #1081171. Published by Sarah Cellobat Chaffee (A0.1505776). Special thanks to Sienna String Quartet for their amazing recording of this arrangement!Say My Name is a song that really needs no introduction! Released by the all-female R&B supergroup Destiny's Child as a single in October of 1999, the song gained rapid commercial and critical success, reaching number one on the American Billboard charts and the top 10 in numerous other countries. Not only did the song receive several Grammy awards that year, but it has since been named one of Rolling Stone's Greatest Songs Of All Time, and it's become one of the group's signature and most recognizable songs. So this one is sure to be an immediate hit in your gig books! This Cellobat arrangement for your string quartet features the catchy melodies, quick-witted prechorus interludes, lush harmonies, and all the attitude of the original for a chart that's sure to get your audience singing along. Rated intermediate; this will be learnable for students and sightreadable for professionals.Sarah “Cellobat” Chaffee is an in-demand acoustic & electric cellist and string arranger. You may have seen her onstage with legendary rock band Aerosmith as the cellist for their “Deuces Are Wild” residency, playing more than 50 sold-out shows with the Bad Boys from Boston; she is also the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays and tours with many other world-renowned groups including the Femmes of Rock, Premiere Wedding Music, Bella Electric Strings, and David Perrico’s Pop Strings Orchestra. Sarah has made a number of TV appearances including the Billboard Music Awards, the Latin Grammy Awards, the iHeartRadio Music Festival, and the CBS reality show “Love Island”; she also played with Michael Bublé for his sold-out Resorts World residency and appeared with him on the Kelly Clarkson Show. Sarah has performed and recorded with a number of other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Dionne Warwick, Sarah Brightman, and Sammy Hagar.Sarah is also an acclaimed string arranger with hundreds of arrangements published on Sheet Music Plus under her own label, Cellobat Charts. She is the exclusive arranger for several award-winning wedding and event companies across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles worldwide. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobathttp://www.facebook.com/SarahCellobatChaffee
$16.99
15.64 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Destiny's Child
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Sarah Cellobat Chaffee
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Say My Name
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Sarah Cellobat Chaffee
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SheetMusicPlus
Margaritaville
Dulcimer
Dulcimer,Instrumental Solo - Level 2 - Digital Download SKU: A0.1173871 Composed by…
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Dulcimer,Instrumental Solo - Level 2 - Digital Download SKU: A0.1173871 Composed by Jimmy Buffett. Arranged by Jaymie Maham. 20th Century,Contemporary,Country,Folk,Rock. Individual part. 10 pages. Jaymie Maham #774024. Published by Jaymie Maham (A0.1173871). One of Buffett's most recognizable songs, Margaritaville was first released on the 1977 album Changes in Latitudes, Changes in Attitudes. TWO COPIES of tab are included: Advanced Beginner (4 pages) and Intermediate (4 pages) along with the complete lyrics and several suggested strum patterns. Arraged in standard DAd (1-5-8) tuning. No extra frets required.This well known song is a great way for confident Advanced Beginner players to get a tune under their fingers and then add more complexity as they become comfortable.Advanced Beginner tab focuses on using one and two finger chords and allows the player to become comfortable with a right hand strum pattern that can be played throughout the piece. Any of the chords in the Intermediate tab may be subsituted into the beginner tab for a fuller sound.Intermediate tab adds more complex three finger chords and suggests a syncopated strum as described on the lyrics sheet. No extra frets are required, but the 1+ is indicated in two measures for a true D7 chord. If the player does not have the 1+ it may be omitted by playing only the melody string or leaving the other two strings open. Â
$5.99
5.51 €
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Dulcimer
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Jimmy Buffett
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Jaymie Maham
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Margaritaville
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Jaymie Maham
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SheetMusicPlus
Crazy
Harpe
Harp - Level 3 - Digital Download SKU: A0.928330 By Patsy Cline. By Willie Nelson. …
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Harp - Level 3 - Digital Download SKU: A0.928330 By Patsy Cline. By Willie Nelson. Arranged by Karen Peterson. Country. Score. 2 pages. Karen Peterson #5955415. Published by Karen Peterson (A0.928330). This Countrypolitan song made famous by Patsy Cline was written by a not-yet-famous Willie Nelson. The attitude of the protagonist has been described as variously bemused, bittersweet, and cathartic. What is it to you, and how can you bring that emotion into your playing?My double-strung arrangement sets accidentals in the LH prior to playing, allowing the song to proceed without lever flips. The optional lever flip at the very end can be easily eliminated, making this song a great opportunity to practice flipping on the right with an easy recovery if you can’t get it in time.Key and range: Bb major (two flats). 21x2 strings. C below middle C through B. Preset B natural, C#, E natural, and F#.Lever changes: One optional lever change on the right. Set four accidentals on the left before playing.Good for: Parties, performance.
$5.99
5.51 €
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Harpe
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Patsy Cline
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Karen Peterson
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Crazy
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Karen Peterson
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SheetMusicPlus
Sentimentale
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1144560 By Takeru Hirabayashi. By T…
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Piano Solo - Level 2 - Digital Download SKU: A0.1144560 By Takeru Hirabayashi. By Takeru Hirabayashi. Classical,Holiday. Score. 1 pages. TAKeru Hirabayashi #744894. Published by TAKeru Hirabayashi (A0.1144560). C minor, 2/2. A short impromptu. First the right hand sings sentimentally with minimal accompaniment. At bar 10 the left hand starts to sing with a positive attitude, and from 14 a gentle chorale is heard, which leads the story toward resolution.
$8.00
7.36 €
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Piano seul
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Takeru Hirabayashi
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Sentimentale
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TAKeru Hirabayashi
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SheetMusicPlus
A Little Piece Of Heaven for Flute Choir
Ensemble de Flûtes
Flute, Woodwind Choir or Ensemble, Flute Choir - Advanced Intermediate - Digital Dow…
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Flute, Woodwind Choir or Ensemble, Flute Choir - Advanced Intermediate - Digital Download By Avenged Sevenfold. Arranged by Lisa Ochoco. Score, Set of Parts. 31 pages. Published by Lisa Ochoco
Flute choir meets heavy metal!<br> <br> Avenged Sevenfold is one of my absolute favorite heavy metal bands. I don't usually hear a flute choir when I listen to their songs, or mostly any heavy metal songs for that matter, but A Little Piece of Heaven is so creative, so musical, and so funny, that I couldn't help it. Also, Oingo Boingo headed up the instrumental parts of the original song, which is evident.<br> <br> If you are unfamiliar with heavy metal, you don't need to know anything about this song, other than it's incredibly unique and has to be played with an attitude. Accentuate the down beats, lay off the full vibratos, keep pushing the tempo - it never should slow down, and channel your inner rocker.<br> <br> This song was the brainchild of the late James "The Rev" Sullivan. With the help of Oingo Boingo musicians, the song was scored to include an orchestra, full wind section, and choir. This arrangement is less than half the length of the original song, but it still clocks in at around 3 1/2 minutes.<br> <br> This arrangement is scored for 4 flutes, alto, bass, contrabass, and upright string bass or keyboard. It is essential that there is a strong bass line. The upright bass part could also be played by any bass clef C instrument, like a euphonium, trombone, or tuba. If you are lucky enough to know a drummer, that would help a great deal too. I did not include a drum part, only because I am not knowledgeable enough at writing for drums and would rather leave it out than mess it up!<br> <br> I hope you and your group will enjoy playing this song as much as I enjoyed arranging it. And I hope your audience will like it too!Flute choir meets heavy metal!<br> <br> Avenged Sevenfold is one of my absolute favorite heavy metal bands. I don't usually hear a flute choir when I listen to their songs, or mostly any heavy metal songs for that matter, but A Little Piece of Heaven is so creative, so musical, and so funny, that I couldn't help it. Also, Oingo Boingo headed up the instrumental parts of the original song, which is evident.<br> <br> If you are unfamiliar with heavy metal, you don't need to know anything about this song, other than it's incredibly unique and has to be played with an attitude. Accentuate the down beats, lay off the full vibratos, keep pushing the tempo - it never should slow down, and channel your inner rocker.<br> <br> This song was the brainchild of the late James "The Rev" Sullivan. With the help of Oingo Boingo musicians, the song was scored to include an orchestra, full wind section, and choir. This arrangement is less than half the length of the original song, but it still clocks in at around 3 1/2 minutes.<br> <br> This arrangement is scored for 4 flutes, alto, bass, contrabass, and upright string bass or keyboard. It is essential that there is a strong bass line. The upright bass part could also be played by any bass clef C instrument, like a euphonium, trombone, or tuba. If you are lucky enough to know a drummer, that would help a great deal too. I did not include a drum part, only because I am not knowledgeable enough at writing for drums and would rather leave it out than mess it up!<br> <br> I hope you and your group will enjoy playing this song as much as I enjoyed arranging it. And I hope your audience will like it too!
$17.00
15.65 €
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Ensemble de Flûtes
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Avenged Sevenfold
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Lisa Ochoco
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A Little Piece Of Heaven for Flute Choir
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Lisa Ochoco
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SheetMusicPlus
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