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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Yin Yin Music
Sheetmusicplus
Non classifié
5 018
Piano & claviers
Piano grosses notes
3 296
Piano seul
3 149
Piano Facile
2 291
Orgue
1 747
Piano, Voix
905
Piano, Voix et Guitare
411
Instruments en Do
232
1 Piano, 4 mains
114
Accordéon
87
Clavier
67
Accompagnement Piano
54
2 Pianos, 4 mains
48
Piano Trio: piano, violon, violoncelle
48
Piano Quatuor: piano, violon, alto, violoncelle
13
Piano Quatuor: piano, 2 violons, violoncelle
9
Piano (partie séparée)
9
Clavecin
7
Piano Quintette: piano, 2 violons, alto, violoncelle
7
Orgue, Piano (duo)
7
1 Piano, 6 mains
7
Orgue, Trompette (duo)
6
+ 16 instrumentations
Retracter
Guitares
Guitare notes et tablatures
730
Guitare
369
Basse electrique
278
Dulcimer
138
Piano, Guitare (duo)
114
Ukulele
112
Ligne De Mélodie, (Paroles) et Accords
79
Mandoline
43
2 Guitares (duo)
39
Paroles et Accords
37
Banjo
36
Guitare (partie séparée)
21
4 Guitares (Quatuor)
20
Ensemble de guitares
11
3 Guitares (trio)
9
2 Dulcimers (duo)
9
Dobro
2
Basse électrique (partie séparée)
2
Guitare Pedal Steel
1
2 Ukuleles
1
Luth
1
+ 16 instrumentations
Retracter
Voix
Chorale SATB
510
Chorale 3 parties
131
Chorale 2 parties
127
Voix Soprano, Piano
65
Voix Baryton, Piano
64
Chorale TTBB
60
Voix Alto, Piano
60
Chorale SSAA
58
Chorale Unison
55
Voix Tenor, Piano
53
Pack Instrumental pour Chorale
37
Voix duo
25
Voix duo, Piano
24
Voix seule
22
Voix haute
13
Voix basse, Piano
13
Voix moyenne, Piano
4
Voix Tenor
4
Chorale
3
Voix Soprano
3
Chorale SSAATTBB
2
Chorale SSATTB
2
Voix Mezzo-Soprano, Piano
1
Chorale SSATB
1
Voix, Guitare
1
Soli, choeur mixte et accompagnement
1
+ 21 instrumentations
Retracter
Vents
Hautbois, Piano (duo)
610
Flûte traversière et Piano
549
Clarinette et Piano
527
2 Saxophones (duo)
519
Flûte, Hautbois, Clarinette, Basson
448
Quatuor de Saxophones: 4 saxophones
438
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
436
Saxophone Alto et Piano
427
Quintette de Saxophone: 5 saxophones
365
Quatuor de Clarinettes: 4 clarinettes
346
Flûte traversière
306
Clarinette
281
Saxophone Tenor et Piano
275
2 Flûtes traversières (duo)
217
2 Clarinettes (duo)
208
Saxophone, Clarinette (duo)
163
Saxophone (partie séparée)
158
Saxophone Alto
158
Hautbois (partie séparée)
126
Saxophone Soprano et Piano
118
Clarinette, Violon (duo)
114
Flûte, Clarinette (duo)
112
Saxophone Tenor
108
Hautbois, Basson (duo)
103
2 Hautbois (duo)
94
Saxophone Baryton, Piano
92
Clarinette, Trompette (duo)
82
2 Flûte à bec (duo)
79
Ensemble de saxophones
78
Ensemble de Clarinettes
72
Hautbois, Clarinette (duo)
71
Hautbois
68
Flûte, Violon
64
Trio de Flûtes: 3 flûtes
59
Clarinette et Alto
58
Hautbois, Flûte
58
Flûte, Saxophone (duo)
57
Flûte, Alto (duo)
56
Quatuor de Flûtes : 4 flûtes
56
Flûte à bec Soprano
45
3 Clarinettes (trio)
44
3 Saxophones (trio)
43
Cor anglais, Piano
41
Ensemble de Flûtes
41
Flûte, Trompette (duo)
41
Flûte irlandaise
40
Clarinette, Basson (duo)
38
Flûte, Violoncelle
36
Clarinette (partie séparée)
36
Clarinette, Violoncelle (duo)
35
Quintette de Clarinettes: 5 clarinettes
34
Hautbois, Violoncelle
31
Saxophone Soprano
30
Flûte, Violon, Piano
30
Quintette de Flûte : 5 flûtes
27
Cor Anglais
22
Clarinette Basse, Piano
22
Flute (partie séparée)
22
Flûte et Guitare
22
Saxophone Baryton
21
Flûte, Hautbois, Clarinette (trio)
20
Flûte à Bec, Piano
18
Flûte à Bec
18
Flûte, Clarinette et Basson
17
Harmonica
17
Quatuor de Flûtes à bec
17
Flûte, Hautbois (duo)
16
Flûte, Basson et Piano
16
Clarinette, Trombone (duo)
13
5 Flûtes à bec
12
Flûte, Trombone (duo)
11
Flûte à bec Soprano, Piano
11
Hautbois et alto (duo)
11
2 Saxophones, Piano
10
Flûte à bec Alto, Piano
10
Flûte à bec Alto
10
Hautbois, violon (duo)
10
Flûte à bec Tenor
9
Flûte, Hautbois, Basson
9
Flute, harpe et violon
8
Saxophone
8
Ensemble De Flûte à bec
7
3 Flûtes à bec (trio)
7
Flûte, Hautbois, Piano (trio)
7
Saxophone et Orgue
6
Piccolo
6
Flûte, Alto et Piano
5
Clarinette, Guitare (duo)
5
Clarinette Basse
5
Piccolo, Piano
4
2 Flûtes traversières, Piano
4
Clarinette, Basson, Piano (trio)
4
2 Clarinettes, Piano
3
Flûte, Violoncelle, Piano (trio)
3
Saxophone et Guitare
3
Clarinette, Alto et Piano (trio)
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Hautbois, Guitare (duo)
3
Clarinette, Violoncelle, Piano (trio)
3
Hautbois, Basson et Piano
3
Flûte, Clarinette, Piano (trio)
3
Flûte, Clarinette, Cor, Basson (Quartet)
2
3 Hautbois
2
Hautbois, Violoncelle et Piano
2
Flûte, Harpe et Violoncelle
2
Hautbois, trombone (duo)
2
Ocarina
2
Flûte et Trio à cordes
2
Clarinette, Contrebasse (duo)
2
Ensemble de Hautbois
2
Hautbois, Violon, Piano
2
Hautbois, Clarinette et Piano (Trio)
2
Flûte, Clarinette, Violon (trio)
1
Flûte traversière, Orchestre
1
Clarinette, Tuba
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Flûte de Pan
1
Ensemble à vent
1
2 Clarinettes, Basson
1
Hautbois, Trompette (duo)
1
2 Hautbois, Piano
1
2 Cors Anglais Et Pianoforte
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
4 Hautbois
1
Flûte et Quatuor à Cordes
1
Flûte traversière, Orgue (duo)
1
Clarinette, Orgue
1
+ 122 instrumentations
Retracter
Cuivres
Trombone et Piano
444
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
370
Trompette, Piano
350
Trompette
342
Cor et Piano
224
Quatuor de Cuivres : 2 trompettes, trombone, tuba
223
Trombone
186
Cor
158
2 Trompettes (duo)
129
Tuba et Piano
125
Trompette, Saxophone (duo)
120
2 Trombones (duo)
116
Trompette (partie séparée)
112
Tuba
102
Trompette, Trombone (duo)
93
Trombone (partie séparée)
88
Quatuor de Cuivres: 2 trompettes, Cor, trombone
87
2 Cors (duo)
86
Ensemble de Trompettes
77
Quatuor de Cuivres
49
Cor anglais, Piano
41
Ensemble de Trombones
32
Trompette, Cor (duo)
27
Euphonium, Piano (duo)
27
2 Tubas (duo)
25
Quatuor de cuivres: 4 trombones
24
Cor (partie séparée)
23
Cor Anglais
22
Quatuor de cuivres: 4 cors
20
Tuba (partie séparée)
17
Euphonium
15
Cor, Violoncelle (duo)
14
Quatuor de cuivres: 4 trompettes
14
3 Trompettes (trio)
11
2 Euphoniums (duo)
10
3 Trombones (trio)
10
Trombone basse
8
Tuba et Orgue
7
2 Euphoniums et 2 Tubas
7
Ensemble de Cors
6
Cor et Basson (duo)
5
Trompette et Guitare
5
4 Tubas
5
Trompette, Basson (duo)
5
Trompette, Violoncelle (duo)
5
Cor, Tuba (duo)
4
3 Cors (trio)
4
Trompette, violon (duo)
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
Trompette, Tuba (duo)
4
Tuba ou Euphonium ou Saxhorn
3
Trio de Cuivres
3
Euphonium, Tuba (duo)
3
Trombone, Tuba (duo)
3
Trombone, Cor (duo)
3
Trombone, Orgue
2
Trompette, Violoncelle et Piano
2
3 Tubas (trio)
2
Instruments en Sib
2
Bass Clef Instruments
2
Trombone basse et Piano
2
3 Euphoniums
1
Ensemble de Tubas
1
2 Cors, Piano
1
Trombone, Alto (duo)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
2 Cors Anglais Et Pianoforte
1
Trompette, Trombone, Piano
1
Trompette, Euphonium (duo)
1
Cor, Trompette, Trombone (trio)
1
Cor et Orgue
1
+ 66 instrumentations
Retracter
Cordes
Harpe
1 070
Quatuor à cordes: 2 violons, alto, violoncelle
854
Violon et Piano
728
Alto, Piano
519
Violon
502
Violoncelle, Piano
487
Violoncelle
373
Violon, Violoncelle (duo)
336
2 Violons (duo)
206
Alto seul
192
Trio à Cordes: violon, alto, violoncelle
175
Violon, Alto (duo)
173
2 Violoncelles (duo)
134
2 Altos (duo)
120
Contrebasse, Piano (duo)
104
Trio à Cordes: 2 violons, violoncelle
98
2 Harpes (duo)
94
Contre Basse
87
Quintette à cordes: 2 violons, alto, violoncelle, basse
86
Alto (partie séparée)
70
Violon (partie séparée)
70
Alto, Violoncelle (duo)
48
Contrebasse (partie séparée)
35
Violon, Basson (duo)
30
Piano Trio: Violon, Alto, Piano
27
4 Violoncelles
26
Trio à cordes: 3 violins
20
Violon, Guitare (duo)
19
Ensemble de Violons
16
Trio à Cordes: 3 violoncelles
16
Violoncelle (partie séparée)
16
Quatuor à cordes: 4 violons
15
Alto et Basson
15
Ensemble d'Altos
14
Quatuor à cordes : 4 altos
14
2 Contrebasses (duo)
12
Trio à cordes: 3 altos
11
Violoncelle, Contrebasse (duo)
9
Trio à Cordes: 2 violons, alto
9
Harpe, Voix
8
Quintette à cordes: 2 violons, 2 altos, violoncelle
7
Violon, Clarinette, Piano (trio)
5
Harpe, Violon, Violoncelle
5
Harpe, Flûte (duo)
5
Autoharp
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
3
3 Harpes
3
2 Violons, Piano
3
Violoncelle , Guitare (duo)
3
5 Harpes
2
Flûte, Contrebasse (duo)
2
Alto, Guitare (duo)
2
2 Altos, Piano
2
Harpe et mandoline
2
Ensemble de Violoncelles
2
Violon, Violoncelle, Clarinette
2
Alto et orchestre
1
Violon, Basse continue
1
Alto et Harpe
1
Violoncelle, Orchestre
1
Violoncelle, Orgue
1
Violon, Tuba (duo)
1
Harpe, Violoncelle (duo)
1
2 Violoncelles, Piano
1
+ 59 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
1 134
Orchestre à Cordes
480
Orchestre
222
Ensemble Jazz
170
Ensemble de cuivres
140
Orchestre de chambre
109
Batterie
68
Ensemble de Percussions
56
Cloches
48
Fanfare
33
Percussion (partie séparée)
24
Jazz combo
23
2 Xylophones
21
Batterie (partie séparée)
14
Xylophone, Piano
13
Percussion
10
Xylophone
10
Ensemble d'École
7
Vibraphone
6
Marimba
6
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Quintette à Vent
3
Bodhran
3
Orchestre, Violon
2
Bongos
2
Conga
2
Quintette de Cuivres: autres combinaisons
2
Cajon
2
Caisse Claire
2
Timbales
1
Xylophone ou Marimba ou Vibraphone
1
Piano et Orchestre
1
Timbales (partie séparée)
1
+ 28 instrumentations
Retracter
Autres
Formation musicale - Solfège
1
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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ENFANTS : EVEIL - IN…
FILM - TV
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FLAMENCO
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
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Vous avez sélectionné:
Yin Yin Music
SheetMusicPlus
Partitions à imprimer
44 086 partitions trouvées
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Yin
Flûte traversière et Piano
Flute and piano - intermediate to advanced - Digital Download SKU: S9.Q45640 Compos…
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Flute and piano - intermediate to advanced - Digital Download SKU: S9.Q45640 Composed by Peilei Shang. This edition: performance score. Downloadable, Performance score. Duration 6 minutes. Schott Music - Digital #Q45640. Published by Schott Music - Digital (S9.Q45640). With her composition Yin, Peilei Shang won the first prize at the Harald Genzmer Composition Competition 2016: Reminiscent of traditional Chinese music, Yin creates an individual and expressive atmosphere by means of sound effects embedded unobtrusively in the overall context. Special techniques are used in the flute and piano parts to produce the sound of the Chinese traditional instruments Xiao (like a bamboo flute) and Qin (a plucked instrument). A demanding and highly fascinating work for concerts and competitions. Shang, who earned her bachelor's degree in Beijing in 2014 and now studies in the composition class of Professor Manfred Stahnke at the Hamburg University of Music and Theatre as an exchange student, has composed a large number of small pieces for various instruments and music genres and has already won several international prizes for her compositions.
$21.99
20.24 €
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Flûte traversière et Piano
#
Peilei Shang
#
Yin
#
Schott Music - Digital
#
SheetMusicPlus
YinYang
Orgue, Trompette (duo)
Trumpet and organ - intermediate to advanced - Digital Download SKU: S9.Q7199 To…
(+)
Trumpet and organ - intermediate to advanced - Digital Download SKU: S9.Q7199 Toccata & Melisma for trumpet (Bb or C) and organ. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 12 minutes. Schott Music - Digital #Q7199. Published by Schott Music - Digital (S9.Q7199). 'YinYang' is the union of polar opposites in Taoism. It is the same in the present work for trumpet and organ in which the two movements form a pair of opposites: 'Toccata' is a powerful, solid music piece that is rough around the edges, with staccato as essential form; 'Melisma' is a sweeping, light and round structure with legato as essential form. This polarity is as elementary as 'male and female'. This is why it is characteristic of the yin-yang symbol that the curved, melismatic line unites contrapuntally with the toccata-like rhythm so that a jubilant praise of wholeness – whether in the Christian or Taoist sense – can be heard. (Enjott Schneider).
$22.99
21.16 €
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Orgue, Trompette (duo)
#
Enjott Schneider
#
YinYang
#
Schott Music - Digital
#
SheetMusicPlus
The Flying Dutchman
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - Digital Download SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.
$42.99
39.56 €
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Richard Wagner
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The Flying Dutchman
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Schott Music - Digital
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SheetMusicPlus
Life is Beautiful
Piano seul
Piano Solo - Easy/Beginner - Digital Download Composed by Louis Landon. 21st Century,…
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Piano Solo - Easy/Beginner - Digital Download Composed by Louis Landon. 21st Century, New Age. Sheet Music Single. 4 pages. Published by Landon Creative, Inc.
Healing Hearts 3<br> Louis Landon<br> 2016 / Landon Creative, Inc.<br> 63 minutes<br> Review by Kathy Parsons<br> Louis Landon’s Healing Hearts 3 is the third in a series of solo piano albums that are comprised of improvisations that were created while clients were in session at his Healing Piano of Sedona (AZ). These sixty-minute healing and music sessions consist of forty minutes of mentoring and twenty minutes of music that includes personalized music for the client’s own use. Landon created Healing Piano of Sedona several years ago to help people live life joyously, passionately, and stress- and disease-free. Landon is a Steinway Artist who has been a life-long musician. Healing Hearts 3 is his twenty-first album and fourteenth solo piano collection. Each of the thirteen pieces on the album was inspired by a different “soul journey,” so the music is quite varied although it maintains a very calming and peaceful vibe throughout.<br> <br> It is interesting to note that Healing Hearts 3 has the closest to the ideal sound Landon has been looking for on his recordings. He attributes that achievement to the mastering and editing expertise of Joe Bongiorno of Piano Haven Studio, also in Sedona. Landon has been trying to get the sound of a classical concert hall in his Peace Palace studio recordings and this album definitely has that sound, which is exceptionally beautiful - clear, warm and resonant.<br> <br> Healing Hearts 3 begins with “Standing In the Light,” a softly flowing piece with a poignant melody that gently soothes the heart - a favorite. “Heart Song” is hushed, intimate and obviously very personal. “Triumph of the Soul” starts out in the deep bass of the piano - very dark and lost. As the piece evolves, it gradually lightens as it moves up the piano keyboard, ending in a very positive place. I’ve often said that the piano is the best instrument to express the sound and feeling of rain and “Night Rain” proves that point again. More energetic than most of the other tracks, the notes flow freely: sometimes smoothly and evenly, sometimes more percussive like big fat raindrops - love it! “Tears” is heartbreak set to music, although tears are so often a big part of the healing process. Such deep emotion is expressed in this piece! Landon wisely follows sadness with “Happy Man,” a lively slice of pianistic sunshine. “Phoenix Rising” begins in the deep bass of the piano, obviously signifying a very dark place or crisis. Over the course of the composition, there is turmoil and pain, but then Landon gradually moves the piece into the upper end of the piano to a much lighter and more peaceful place - a stunning piece! “Healing Time” is gently uplifting and so soothing and serene that I can actually feel it melting away tension - another favorite. “Music Runs Through Me” flows quickly like a stream with sparkles of sunlight dancing happily on its surface. “Balance” returns to a calm stillness that comes when things/life are in balance. Slow, lyrical and very peaceful, it’s the perfect closing for another great album from Louis Landon!<br> <br> I have thoroughly enjoyed all three Healing Hearts albums, but I think #3 is my favorite. It is available from LouisLandon.com, Amazon, iTunes and CD Baby. Very highly recommended!<br> November 4, 2016<br> <br> Recorded at The Peace Palace, Sedona, AZ, from November 2015 to February 2016. on a Steinway B.<br> <br> Music mastering: Joe Bongiorno at Piano Haven Studio, Sedona, AZ<br> <br> <br> <br> Louis Landon is a composer and Steinway artist. Formerly of New York and currently living in Sedona, Arizona, Louis has dedicated his life to music. His career has taken him around the world playing a variety of styles with some of the most recognized names in the entertainment industry. He toured nationally and internationally, playing classical music for Mikhail Baryshnikov; jazz fusion with The John Payne Band; Latin music with "Pucho and his Latin Soul Brothers”; pop music with Rupert "Pina Colada Song" Holmes; and rock & roll with John Hall, opening for "Little Feat”.<br> <br> Louis began playing the piano by ear at 4 years old and began lessons at 5. As a teenager, he played guitar and keyboard in bands and went on to study music at Stony Brook University, Boston Conservatory and Berklee College of Music.<br> <br> For the past 30 years, through his production company, Landon Music Company, Louis has written and produced music for film, video, and commercials. He recorded his first original album, Love Songs & Jazz, in 1994 and has since released 38 Albums/CDs on the LCI Record label. His latest, entitled Provocative Piano, was released on January 29, 2021. He has just finished up yet another solo piano album, Nighttime Piano for Relaxation and Deep Sleep, with a release date of April 23, 2021.<br> <br> Louis Landon mission:<br> <br> To create a more compassionate world by writing, recording and performing music that inspires love, peace, joy and gratitude.<br> <br> Reviews:<br> <br> “While some pianists are virtuosos in their playing and others may not be as technically proficient, but have great emotional content in their music, Louis Landon brings it all together with impeccable style and grace. His work covers diverse compositional terrain, incorporating influences of classical, new age, jazz, pop, and more in a mellifluous spectrum of moods and musical colors.” Michaeldiamondmusic.com<br> <br> "He has a gift for composition that is second to none." Zone Music Reporter<br> <br> "… indeed meditative and mellow, [he] sacrifices no musical rigor to achieve those ends. With backgrounds in jazz, Latin music, rock, pop, film composing, and classical piano, Louis brings his breadth and depth of experience to bear here. His playing and compositions are sensitive as they are complex and… a diverse range of influences is more than apparent.” Keyboard Magazine<br> <br> Recognition:<br> <br> Louis Landon's music has had over 140 million streams on Pandora radio!<br> <br> Louis Landon's music has had over 34 million streams on Spotify!<br> <br> Thanksgiving Piano was nominated for Album of the Year 2020 by Whisperings Radio.<br> <br> Departure - Solo Piano was nominated for Album of the Year 2017 by Whisperings Radio.<br> <br> Healing Hearts 2 - Solo Piano won 2016 “Contemporary and Modern” Album of the Year at solo piano.com and was nominated for Album of the Year at Enlightened Piano Radio, also in 2016.<br> <br> Healing Hearts - Solo Piano was nominated for Album of the Year at Whisperings Radio 2015.<br> <br> Solo Piano for Love, Peace & Mermaids was nominated for Album of the Year at Whisperings Radio 2010.<br> <br> Solo Piano for Peace was nominated for the 2009 ZMR Music Awards in three categories: Album of the Year, Best Instrumental Album - piano, and Best Cover Art by Zone Music Reporter. Solo Piano for Peace was listed at #30 of the top 100 albums for airplay in 2009 by Zone Music Reporter.<br> <br> Peace Revolution! was Louis Landon's 7th CD and 2nd solo piano CD. It was #7 on the NAR top 100 charts and was played on over 50 stations worldwide.<br> <br> unwind charted at #3 of the top 100 cds for the month of February, 2006 on Zone Music Reporter's website, playing on over 121 stations internationally.<br> <br> Visit LouisLandon.com for bookings, CDs, sheet music, contact info and more.Healing Hearts 3<br> Louis Landon<br> 2016 / Landon Creative, Inc.<br> 63 minutes<br> Review by Kathy Parsons<br> Louis Landon’s Healing Hearts 3 is the third in a series of solo piano albums that are comprised of improvisations that were created while clients were in session at his Healing Piano of Sedona (AZ). These sixty-minute healing and music sessions consist of forty minutes of mentoring and twenty minutes of music that includes personalized music for the client’s own use. Landon created Healing Piano of Sedona several years ago to help people live life joyously, passionately, and stress- and disease-free. Landon is a Steinway Artist who has been a life-long musician. Healing Hearts 3 is his twenty-first album and fourteenth solo piano collection. Each of the thirteen pieces on the album was inspired by a different “soul journey,” so the music is quite varied although it maintains a very calming and peaceful vibe throughout.<br> <br> It is interesting to note that Healing Hearts 3 has the closest to the ideal sound Landon has been looking for on his recordings. He attributes that achievement to the mastering and editing expertise of Joe Bongiorno of Piano Haven Studio, also in Sedona. Landon has been trying to get the sound of a classical concert hall in his Peace Palace studio recordings and this album definitely has that sound, which is exceptionally beautiful - clear, warm and resonant.<br> <br> Healing Hearts 3 begins with “Standing In the Light,” a softly flowing piece with a poignant melody that gently soothes the heart - a favorite. “Heart Song” is hushed, intimate and obviously very personal. “Triumph of the Soul” starts out in the deep bass of the piano - very dark and lost. As the piece evolves, it gradually lightens as it moves up the piano keyboard, ending in a very positive place. I’ve often said that the piano is the best instrument to express the sound and feeling of rain and “Night Rain” proves that point again. More energetic than most of the other tracks, the notes flow freely: sometimes smoothly and evenly, sometimes more percussive like big fat raindrops - love it! “Tears” is heartbreak set to music, although tears are so often a big part of the healing process. Such deep emotion is expressed in this piece! Landon wisely follows sadness with “Happy Man,” a lively slice of pianistic sunshine. “Phoenix Rising” begins in the deep bass of the piano, obviously signifying a very dark place or crisis. Over the course of the composition, there is turmoil and pain, but then Landon gradually moves the piece into the upper end of the piano to a much lighter and more peaceful place - a stunning piece! “Healing Time” is gently uplifting and so soothing and serene that I can actually feel it melting away tension - another favorite. “Music Runs Through Me” flows quickly like a stream with sparkles of sunlight dancing happily on its surface. “Balance” returns to a calm stillness that comes when things/life are in balance. Slow, lyrical and very peaceful, it’s the perfect closing for another great album from Louis Landon!<br> <br> I have thoroughly enjoyed all three Healing Hearts albums, but I think #3 is my favorite. It is available from LouisLandon.com, Amazon, iTunes and CD Baby. Very highly recommended!<br> November 4, 2016<br> <br> Recorded at The Peace Palace, Sedona, AZ, from November 2015 to February 2016. on a Steinway B.<br> <br> Music mastering: Joe Bongiorno at Piano Haven Studio, Sedona, AZ<br> <br> <br> <br> Louis Landon is a composer and Steinway artist. Formerly of New York and currently living in Sedona, Arizona, Louis has dedicated his life to music. His career has taken him around the world playing a variety of styles with some of the most recognized names in the entertainment industry. He toured nationally and internationally, playing classical music for Mikhail Baryshnikov; jazz fusion with The John Payne Band; Latin music with "Pucho and his Latin Soul Brothers”; pop music with Rupert "Pina Colada Song" Holmes; and rock & roll with John Hall, opening for "Little Feat”.<br> <br> Louis began playing the piano by ear at 4 years old and began lessons at 5. As a teenager, he played guitar and keyboard in bands and went on to study music at Stony Brook University, Boston Conservatory and Berklee College of Music.<br> <br> For the past 30 years, through his production company, Landon Music Company, Louis has written and produced music for film, video, and commercials. He recorded his first original album, Love Songs & Jazz, in 1994 and has since released 38 Albums/CDs on the LCI Record label. His latest, entitled Provocative Piano, was released on January 29, 2021. He has just finished up yet another solo piano album, Nighttime Piano for Relaxation and Deep Sleep, with a release date of April 23, 2021.<br> <br> Louis Landon mission:<br> <br> To create a more compassionate world by writing, recording and performing music that inspires love, peace, joy and gratitude.<br> <br> Reviews:<br> <br> “While some pianists are virtuosos in their playing and others may not be as technically proficient, but have great emotional content in their music, Louis Landon brings it all together with impeccable style and grace. His work covers diverse compositional terrain, incorporating influences of classical, new age, jazz, pop, and more in a mellifluous spectrum of moods and musical colors.” Michaeldiamondmusic.com<br> <br> "He has a gift for composition that is second to none." Zone Music Reporter<br> <br> "… indeed meditative and mellow, [he] sacrifices no musical rigor to achieve those ends. With backgrounds in jazz, Latin music, rock, pop, film composing, and classical piano, Louis brings his breadth and depth of experience to bear here. His playing and compositions are sensitive as they are complex and… a diverse range of influences is more than apparent.” Keyboard Magazine<br> <br> Recognition:<br> <br> Louis Landon's music has had over 140 million streams on Pandora radio!<br> <br> Louis Landon's music has had over 34 million streams on Spotify!<br> <br> Thanksgiving Piano was nominated for Album of the Year 2020 by Whisperings Radio.<br> <br> Departure - Solo Piano was nominated for Album of the Year 2017 by Whisperings Radio.<br> <br> Healing Hearts 2 - Solo Piano won 2016 “Contemporary and Modern” Album of the Year at solo piano.com and was nominated for Album of the Year at Enlightened Piano Radio, also in 2016.<br> <br> Healing Hearts - Solo Piano was nominated for Album of the Year at Whisperings Radio 2015.<br> <br> Solo Piano for Love, Peace & Mermaids was nominated for Album of the Year at Whisperings Radio 2010.<br> <br> Solo Piano for Peace was nominated for the 2009 ZMR Music Awards in three categories: Album of the Year, Best Instrumental Album - piano, and Best Cover Art by Zone Music Reporter. Solo Piano for Peace was listed at #30 of the top 100 albums for airplay in 2009 by Zone Music Reporter.<br> <br> Peace Revolution! was Louis Landon's 7th CD and 2nd solo piano CD. It was #7 on the NAR top 100 charts and was played on over 50 stations worldwide.<br> <br> unwind charted at #3 of the top 100 cds for the month of February, 2006 on Zone Music Reporter's website, playing on over 121 stations internationally.<br> <br> Visit LouisLandon.com for bookings, CDs, sheet music, contact info and more.
$5.25
4.83 €
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Piano seul
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Louis Landon
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Life is Beautiful
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Landon Creative, Inc.
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SheetMusicPlus
Jazz Course for All Instruments 5 Simple Strategies for Developing Jazz Language and Fluency
Formation musicale - Solfège
Jazz. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #30890EB. Publish…
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Jazz. E-book. 33 pages. Mel Bay Publications - Digital Sheet Music #30890EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459295. 8.75x11.75 inches.<br> <br> According to musician and musicologist Gunther Schuller, 75% of all harmonic movement in jazz consists of ii-V-I progressions. Consequently, for the jazz improvisor, it is extremely important to be capable of playing a coherent phrase based on any member note of the ii chord and its extensions, in any key. In this book, music educator and world-renowned jazz saxophonist, Lukas Gabric focuses on helping you develop this essential skill. The five strategies outlined in Jazz Course for All Instruments are specifically designed to enhance your vocabulary and fluency as a jazz improviser. In a key segment, Gabric explains how longer phrases can be generated by combining minimal source materials. He also seeks to further your transposition and memorization skills as well as instrumental techniqueall of which are required for effective improvisation. For those familiar with other styles of music, this reasoned, incremental approach could well open the door to the exciting world of improvised jazz.ISBN 9781513459295. 8.75x11.75 inches.<br> <br> According to musician and musicologist Gunther Schuller, 75% of all harmonic movement in jazz consists of ii-V-I progressions. Consequently, for the jazz improvisor, it is extremely important to be capable of playing a coherent phrase based on any member note of the ii chord and its extensions, in any key. In this book, music educator and world-renowned jazz saxophonist, Lukas Gabric focuses on helping you develop this essential skill. The five strategies outlined in Jazz Course for All Instruments are specifically designed to enhance your vocabulary and fluency as a jazz improviser. In a key segment, Gabric explains how longer phrases can be generated by combining minimal source materials. He also seeks to further your transposition and memorization skills as well as instrumental techniqueall of which are required for effective improvisation. For those familiar with other styles of music, this reasoned, incremental approach could well open the door to the exciting world of improvised jazz.
$9.99
9.19 €
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Formation musicale - Solfège
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Jazz Course for All Instruments 5 Simple Strategies for Developing Jazz Language and Fluency
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
The Butterfly by Alexander Ilyinsky for Bb Clarinet and Piano
Clarinette et Piano
Piano Accompaniment, Clarinet - Advanced - Digital Download Composed by Alexander Ily…
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Piano Accompaniment, Clarinet - Advanced - Digital Download Composed by Alexander Ilyinsky (1859-1920). Arranged by Seunghee Lee. Post-Romantic, Children's Music, Anniversary, Wedding, Recital. Individual Part, Score, Solo Part. 12 pages. Published by Musica Solis
The Butterfly, composed by Alexander Ilyinsky (Ilynsky) 1859-1919, a Russian Composer, for Bb Clarinet and Piano. Advanced Level. Edited by Seunghee Lee. Piano Score (8pages) Clarinet in Bb (4pages). Published by Musica Solis. .The Butterfly, composed by Alexander Ilyinsky (Ilynsky) 1859-1919, a Russian Composer, for Bb Clarinet and Piano. Advanced Level. Edited by Seunghee Lee. Piano Score (8pages) Clarinet in Bb (4pages). Published by Musica Solis. .
$9.99
9.19 €
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Clarinette et Piano
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Alexander Ilyinsky
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Seunghee Lee
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The Butterfly by Alexander Ilyinsky for Bb Clarinet and Piano
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Musica Solis
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SheetMusicPlus
A Million Dreams
2 Violons, Piano
By Pink, The Greatest Showman. Arranged by Susie Winkworth winkmusic.co.uk. Score, S…
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By Pink, The Greatest Showman. Arranged by Susie Winkworth winkmusic.co.uk. Score, Set of Parts. 6 pages. Published by winkmusic.co.uk
A Million Dreams, a track from the hit musical film The Greatest Showman, arranged for easy violin duo and easy piano. Straightforward to play and put together, but satisfyingly close to the original track in performance, this is a perfect start to playing chamber music in a fun way.<br> <br> Winkmusic.co.uk produces the highest quality arrangements. Tried and tested at 5* venues and concert halls, only the best make the cut. Previous commissions have appeared on Sunday Times Top 100 Albums of 2016, and are played by Classic FM chart-toppers and at festivals across the world. Educational arrangements have received excellent reviews.A Million Dreams, a track from the hit musical film The Greatest Showman, arranged for easy violin duo and easy piano. Straightforward to play and put together, but satisfyingly close to the original track in performance, this is a perfect start to playing chamber music in a fun way.<br> <br> Winkmusic.co.uk produces the highest quality arrangements. Tried and tested at 5* venues and concert halls, only the best make the cut. Previous commissions have appeared on Sunday Times Top 100 Albums of 2016, and are played by Classic FM chart-toppers and at festivals across the world. Educational arrangements have received excellent reviews.
$14.00
12.88 €
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2 Violons, Piano
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Pink, The Greatest Showman
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Susie Winkworth winkmusic
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A Million Dreams
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winkmusic.co.uk
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SheetMusicPlus
Scale Degree Explanation: Music Theory Worksheet
Piano Facile
Easy Piano - Level 1 - Digital Download SKU: A0.1162912 Composed by Brian Streckfus…
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Easy Piano - Level 1 - Digital Download SKU: A0.1162912 Composed by Brian Streckfus. Instructional. Score. 2 pages. Brian Streckfus #763269. Published by Brian Streckfus (A0.1162912). If you were ever confused when a musician said something like, add a b5 to that chord, this theory worksheet should help your understanding. Tips:1. Understanding scale degrees also aids greatly in understand how chords work, and more specifically, why chords are named the way they are (such as b9). 2. Understanding scale degrees can also aid in transposing music to different keys.3. Understanding scale degrees can aid in copying another musician's essence rather than stealing their exact notes. Instead of saying I like that A G# G on top of an Am7 chord. That's a very good start, but it is even more amibigous (and therefore all-encompassing) to say, I like that 8 7 b7 on top of a i7 chord. The second way is better for composing because now you understand that sound in every possible context, which in turn adds that composing trick to a fluent part of your musical language.
$1.99
1.83 €
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Piano Facile
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Brian Streckfus
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Scale Degree Explanation: Music Theory Worksheet
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Brian Streckfus
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SheetMusicPlus
Hip Guitar Lines The Lines, Fingerings and Ideas That Will Transform Your Playing
Guitar - Intermediate - Digital Download SKU: M0.30898EB Improvising, Lines & Phras…
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Guitar - Intermediate - Digital Download SKU: M0.30898EB Improvising, Lines & Phrases. Jazz. E-book. 121 pages. Mel Bay Publications - Digital Sheet Music #30898EB. Published by Mel Bay Publications - Digital Sheet Music (M0.30898EB). ISBN 9781513455136. 8.75x11.75 inches.The Hip Guitar Lines book is a window and a gateway into learning and applying advanced jazz vocabulary on the guitar. It is intended to be a resource that a jazz guitarist of any level can use to take another step. Each line is laid out clearly with its application and TAB fingering.If you have wanted to know the secret lines that the Master musicians know...if you have been looking for a way to grow your ears and musical vocabulary.... if you have wondered how to take a musical leap....this is your moment. The key to rapid and amazing musical growth is in your hands. Now, go to work and have fun. I wrote this book for you. I am here to help.
$19.99
18.4 €
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Hip Guitar Lines The Lines, Fingerings and Ideas That Will Transform Your Playing
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Flute Quartet sheet music: Os Pintinhos no Terreiro (score & parts)
Quatuor de Flûtes : 4 flûtes
Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509399
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Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509399 By Francesco Leone. By Zequinha de Abreu. Arranged by Francesco Leone. Latin. 24 pages. Glissato Edizioni Musicali #1084638. Published by Glissato Edizioni Musicali (A0.1509399). Experience the whimsical beauty of Brazilian Chorinho with Os Pintinhos no Terreiro (The Chicks in the Yard), a captivating piece by the renowned Zequinha de Abreu. This charming composition has been thoughtfully arranged for Flute Quartet (s.s.s.b.), tailored to suit intermediate level players. The arrangement not only brings to life the playful and joyous essence of the original work but also provides an engaging challenge that will delight and inspire musicians.This comprehensive ebook package includes the full score and a complete set of parts for four flutes, designed to facilitate a seamless ensemble performance. Each part has been meticulously prepared to ensure that players can fully immerse themselves in the nuances of Chorinho music, while also contributing to a cohesive and harmonious group sound.What sets this arrangement apart is the inclusion of additional resources that enrich the player's understanding and appreciation of the piece. These resources are available in multiple languages, including English, French, German, Spanish, Italian, and Portuguese, making this arrangement not only a musical journey but also an educational one. Through these materials, musicians can explore the cultural context of Os Pintinhos no Terreiro, delve into the life and legacy of Zequinha de Abreu, and gain insights into the stylistic elements that define Chorinho.Whether you're performing in a concert, participating in a workshop, or simply enjoying the music with friends, this arrangement of Os Pintinhos no Terreiro for Flute Quartet offers a unique opportunity to connect with the rich musical heritage of Brazil. Let the lively rhythms and melodious tunes transport you and your audience to the vibrant streets of Brazil, where the spirit of Chorinho fills the air.- Querflöten-Noten, partitions pour flûte, partituras para flauta, partituras para flauta, spartiti per flauto, flüt notaları, nuty na flet, noter for fløyte, noter för flöjt -.
$13.00
11.96 €
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Quatuor de Flûtes : 4 flûtes
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Francesco Leone
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Francesco Leone
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Flute Quartet sheet music: Os Pintinhos no Terreiro
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Glissato Edizioni Musicali
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SheetMusicPlus
In Praise of Music for Woodwind Quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.755013 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.755013 Composed by Sy Brandon. 20th Century,Concert,Contemporary. 97 pages. Sy Brandon #3240601. Published by Sy Brandon (A0.755013). This work was composed for the Golden Gate Wind Quintet. The inspiration comes from The Musicians Yearbook of 1895. This book contains a saying about music for each day of the year. Eight sayings have been selected for both their content and the ability to create contrast between the eight movements.
$14.99
13.8 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Sy Brandon
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In Praise of Music for Woodwind Quintet
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Sy Brandon
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SheetMusicPlus
Teddy Music
1 Piano, 4 mains
Piano (4 hands) - easy - Digital Download 10 Easy Pieces. Composed by Hermann Regner …
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Piano (4 hands) - easy - Digital Download 10 Easy Pieces. Composed by Hermann Regner (1928-). This edition: performance score. Downloadable. Duration 10 minutes. Schott Music - Digital #Q7193. Published by Schott Music - Digital
Hermann Regner, one of the most successful music teachers of the 20th century and pupil of Carl Orff, was dedicated to the fusion of instrumental education and contemporary music. Thanks to his practical compositions, he helped children, young people and amateur musicians gain access to modern music. 'Teddy Music' is a collection of 10 easy pieces for piano duet. A teddy bear leads the musician through the colourful collection in amusing illustrations. The pieces have been written for pupils and teacher, with the pupil's part being very easy and designed for the first or second year. The teddy bear can do a lot of things: he dances, swings, rides, dreams, tells stories and occasionally gets annoyed. A cheerful collection for the first steps in piano duet playing.Hermann Regner, one of the most successful music teachers of the 20th century and pupil of Carl Orff, was dedicated to the fusion of instrumental education and contemporary music. Thanks to his practical compositions, he helped children, young people and amateur musicians gain access to modern music. 'Teddy Music' is a collection of 10 easy pieces for piano duet. A teddy bear leads the musician through the colourful collection in amusing illustrations. The pieces have been written for pupils and teacher, with the pupil's part being very easy and designed for the first or second year. The teddy bear can do a lot of things: he dances, swings, rides, dreams, tells stories and occasionally gets annoyed. A cheerful collection for the first steps in piano duet playing.
$13.99
12.88 €
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1 Piano, 4 mains
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Hermann Regner
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Teddy Music
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Schott Music - Digital
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SheetMusicPlus
MA FI 'JO YIN OLUWA
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.1028562 Composed by KUPOLUYI JOSHUA …
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Choral Choir (SATB) - Digital Download SKU: A0.1028562 Composed by KUPOLUYI JOSHUA OLUYEMI. 20th Century,African,Christian,Holiday,Latin. Octavo. 6 pages. JONAD MUSIC INTERNATIONAL #3573589. Published by JONAD MUSIC INTERNATIONAL (A0.1028562).
$2.50
2.3 €
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Chorale SATB
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KUPOLUYI JOSHUA OLUYEMI
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MA FI 'JO YIN OLUWA
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JONAD MUSIC INTERNATIONAL
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SheetMusicPlus
First Steps in Violoncello Playing
Violoncelle
1-2 cellos - very easy to easy - Digital Download Composed by Sebastian Lee (1805-188…
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1-2 cellos - very easy to easy - Digital Download Composed by Sebastian Lee (1805-1887). This edition: performance score. Downloadable. Op. 101. Schott Music - Digital #Q19190. Published by Schott Music - Digital
Sebastian Lee was born in Hamburg in 1805 and trained by the Romberg pupil Johann Nikolaus Prell. A soloist and teacher, he published his Cello Method Op. 30 in 1845 which is still available at Schott (ED 965).<br> His barely known anthology 'First Steps in Violoncello Playing' opus 101 contains 50 easy duets in the first position. The first cello part is easy to play while the second part is somewhat more demanding, yet still playable by pupils. A beautiful collection for beginner's lessons, with very melodious pieces covering all technical and musical aspects of cello playing.Sebastian Lee was born in Hamburg in 1805 and trained by the Romberg pupil Johann Nikolaus Prell. A soloist and teacher, he published his Cello Method Op. 30 in 1845 which is still available at Schott (ED 965).<br> His barely known anthology 'First Steps in Violoncello Playing' opus 101 contains 50 easy duets in the first position. The first cello part is easy to play while the second part is somewhat more demanding, yet still playable by pupils. A beautiful collection for beginner's lessons, with very melodious pieces covering all technical and musical aspects of cello playing.
$12.99
11.95 €
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Violoncelle
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Sebastian Lee (1805-1887)
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First Steps in Violoncello Playing
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Schott Music - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)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
Berceuse by Ilyinsky - 5 flutes / flute ensemble / flute quintet
Ensemble de Flûtes
Composed by Alexander Ilyinsky (1859-1920). Arranged by a " do Ray me " fl…
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Composed by Alexander Ilyinsky (1859-1920). Arranged by a " do Ray me " flute studio production, Ray- Michael Kauffman. Romantic Period, Repertoire, Mother's Day, Wedding, Recital. Individual Part, Lead Sheet, Octavo, Piano Reduction, Score, Set of Parts, Sheet Music Single, Solo Part. 16 pages. Published by a " do Ray me " flute studio production
https://youtu.be/Mw3wD_kzxrc<br> <br> This beloved piece, well known by many early music students, is a sweet expressive addition for your flute ensemble/ group/ choir. Simplistic enough to intermediate performers, yet complex enough to create something magical for performers and audience. This simple yet sweet melody, added with my rich textured harmonies adds a new flare to this piece, and would be perfect for playing for so many venues , concerts, churches, programs, graduation, memorial<br> services, and many other choices. A great way for newer players to learn expressive playing and emotional phrasing. A sure hit for all !<br> set for 4 c flutes, and alto flute in g , and / or bass flute . Can be used as a quintet or sextet , or small flute ensemble. A piece where all flute players can play, sharing the melody back and forth through the sections .<br> <br> Thanks for looking, and please check out my website @ doRaymeflute.comhttps://youtu.be/Mw3wD_kzxrc<br> <br> This beloved piece, well known by many early music students, is a sweet expressive addition for your flute ensemble/ group/ choir. Simplistic enough to intermediate performers, yet complex enough to create something magical for performers and audience. This simple yet sweet melody, added with my rich textured harmonies adds a new flare to this piece, and would be perfect for playing for so many venues , concerts, churches, programs, graduation, memorial<br> services, and many other choices. A great way for newer players to learn expressive playing and emotional phrasing. A sure hit for all !<br> set for 4 c flutes, and alto flute in g , and / or bass flute . Can be used as a quintet or sextet , or small flute ensemble. A piece where all flute players can play, sharing the melody back and forth through the sections .<br> <br> Thanks for looking, and please check out my website @ doRaymeflute.com
$9.99
9.19 €
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Ensemble de Flûtes
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Alexander Ilyinsky
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do Ray me "
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Berceuse by Ilyinsky - 5 flutes / flute ensemble / flute quintet
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a " do Ray me " flute studio production
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SheetMusicPlus
Music for Children
Voice, recorder and percussion - Digital Download Minor: Dominant and Subdominant Tri…
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Voice, recorder and percussion - Digital Download Minor: Dominant and Subdominant Triads. Arranged by Margaret Murray. This edition: score for voice and/or instruments. Orff- Schulwerk. Downloadable. Op. 5. Schott Music - Digital #Q49516. Published by Schott Music - Digital
English.<br> <br> Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided. it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fifth volume: Songs and pieces making further use of the modes introduced in Vol. 4, with the addition of the more usual forms of the minor scale with the sharpened seventh. The settings of short dramatic scenes concludes the book.English.<br> <br> Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided. it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fifth volume: Songs and pieces making further use of the modes introduced in Vol. 4, with the addition of the more usual forms of the minor scale with the sharpened seventh. The settings of short dramatic scenes concludes the book.
$21.99
20.24 €
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Music for Children
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Schott Music - Digital
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SheetMusicPlus
Classical Music for Children
Flûte traversière et Piano
Flute and piano - very easy to easy - Digital Download 26 Easy Pieces. This edition: …
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Flute and piano - very easy to easy - Digital Download 26 Easy Pieces. This edition: Sheet music. Flote, Klassik, Flute. Classical Music for Children. Downloadable. Schott Music - Digital #Q20865. Published by Schott Music - Digital
The volume 'Klassik fur Kinder' provides young flute players with a selection of 26 easy works for lessons and concerts. The selected pieces range from the Baroque era via the Classical period to the Romantic era. Apart from original pieces, the editors have deliberately included easy arrangements of well-known masterpieces as well in order to facilitate access to the classical concert literature.<br> The pitch range found in the pieces (not higher than E''') can be easily mastered by pupils from the second year of tuition. The collection is particularly suitable to work on various aspects of interpretation and musical performance.<br> The enclosed CD contains all pieces as a complete version (for listening) and as pure piano accompaniment (for playing along).<br> The 'Klassik fur Kinder' series is also available for violin, clarinet, piano, guitar, and most recently for violoncello as well.The volume 'Klassik fur Kinder' provides young flute players with a selection of 26 easy works for lessons and concerts. The selected pieces range from the Baroque era via the Classical period to the Romantic era. Apart from original pieces, the editors have deliberately included easy arrangements of well-known masterpieces as well in order to facilitate access to the classical concert literature.<br> The pitch range found in the pieces (not higher than E''') can be easily mastered by pupils from the second year of tuition. The collection is particularly suitable to work on various aspects of interpretation and musical performance.<br> The enclosed CD contains all pieces as a complete version (for listening) and as pure piano accompaniment (for playing along).<br> The 'Klassik fur Kinder' series is also available for violin, clarinet, piano, guitar, and most recently for violoncello as well.
$12.99
11.95 €
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Flûte traversière et Piano
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Classical Music for Children
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Schott Music - Digital
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SheetMusicPlus
A Musical
Chorus - Digital Download SKU: AX.00-PO-0003763 A Musical - TTBB. Composed b…
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Chorus - Digital Download SKU: AX.00-PO-0003763 A Musical - TTBB. Composed by Karey Kirkpatrick and Wayne Kirkpatrick. Arranged by Andy Beck. Choral. 17 pages. Alfred Music - Digital Sheet Music #00-PO-0003763. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003763). UPC: 038081513010.In this Tony-nominated number, while trying their best to compete with the wildly successful William Shakespeare, the Bottom brothers, Nick and Nigel, follow the advice of Nostradamus and create a play where an actor is saying his lines, and out of nowhere, he just starts singing. A terrific showcase for concert and show choirs!Inst. Parts Available (choral); Recorded Acc. Available.
$2.25
2.07 €
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Karey Kirkpatrick and Wayne Kirkpatrick
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Andy Beck
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Recorded Acc. Available.
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A Musical
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
A Musical
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0003760 A Musical - SATB. Composed b…
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Chorus - Digital Download SKU: AX.00-PO-0003760 A Musical - SATB. Composed by Karey Kirkpatrick and Wayne Kirkpatrick. Arranged by Andy Beck. Choral. 17 pages. Alfred Music - Digital Sheet Music #00-PO-0003760. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003760). UPC: 038081512983.In this Tony-nominated number, while trying their best to compete with the wildly successful William Shakespeare, the Bottom brothers, Nick and Nigel, follow the advice of Nostradamus and create a play where an actor is saying his lines, and out of nowhere, he just starts singing. A terrific showcase for concert and show choirs!Inst. Parts Available (choral); Recorded Acc. Available.
$2.35
2.16 €
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Chorale SATB
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Karey Kirkpatrick and Wayne Kirkpatrick
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Andy Beck
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Recorded Acc. Available.
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A Musical
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
A Musical
Chorale 3 parties
Chorus - Digital Download SKU: AX.00-PO-0003762 A Musical - SSAA. Composed b…
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Chorus - Digital Download SKU: AX.00-PO-0003762 A Musical - SSAA. Composed by Karey Kirkpatrick and Wayne Kirkpatrick. Arranged by Andy Beck. Choral. 17 pages. Alfred Music - Digital Sheet Music #00-PO-0003762. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003762). UPC: 038081513003.In this Tony-nominated number, while trying their best to compete with the wildly successful William Shakespeare, the Bottom brothers, Nick and Nigel, follow the advice of Nostradamus and create a play where an actor is saying his lines, and out of nowhere, he just starts singing. A terrific showcase for concert and show choirs!Inst. Parts Available (choral); Recorded Acc. Available.
$2.25
2.07 €
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Chorale 3 parties
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Karey Kirkpatrick and Wayne Kirkpatrick
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Andy Beck
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Recorded Acc. Available.
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A Musical
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
A Musical
Chorale 3 parties
Chorus - Digital Download SKU: AX.00-PO-0003761 A Musical - SAB. Composed by…
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Chorus - Digital Download SKU: AX.00-PO-0003761 A Musical - SAB. Composed by Karey Kirkpatrick and Wayne Kirkpatrick. Arranged by Andy Beck. Choral. 17 pages. Alfred Music - Digital Sheet Music #00-PO-0003761. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003761). UPC: 038081512990.In this Tony-nominated number, while trying their best to compete with the wildly successful William Shakespeare, the Bottom brothers, Nick and Nigel, follow the advice of Nostradamus and create a play where an actor is saying his lines, and out of nowhere, he just starts singing. A terrific showcase for concert and show choirs!Inst. Parts Available (choral); Recorded Acc. Available.
$2.25
2.07 €
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Chorale 3 parties
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Karey Kirkpatrick and Wayne Kirkpatrick
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Andy Beck
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Recorded Acc. Available.
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A Musical
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The Master Singers of Nuremberg
Piano, Voix
Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erst…
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Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 235\' 0. Schott Music - Digital #Q17852. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG “Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera’s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche’s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ‘magnificent, ornate and ponderous art’ and Wagner’s music in general as being ‘rough and coarse’. This music according to Nietzsche possesses ‘no trace of the fine southern clarity of the sky and nothing of grace’, but instead ‘a cumbersome garb, with a touch of licentious barbarism and solemnity’ and ‘even a certain degree of ungainliness’. Nietzsche’s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott’s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. […] When the saying ‘the music sets the tone’ is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.” (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG “Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera’s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche’s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ‘magnificent, ornate and ponderous art’ and Wagner’s music in general as being ‘rough and coarse’. This music according to Nietzsche possesses ‘no trace of the fine southern clarity of the sky and nothing of grace’, but instead ‘a cumbersome garb, with a touch of licentious barbarism and solemnity’ and ‘even a certain degree of ungainliness’. Nietzsche’s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott’s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. […] When the saying ‘the music sets the tone’ is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.” (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).
$59.99
55.21 €
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Piano, Voix
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Richard Wagner
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The Master Singers of Nuremberg
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SheetMusicPlus
Corynorhinus (Surveying the Ruins) (from Batman Begins)
Piano seul
Piano - Digital Download SKU: AX.00-XIP-000196 Corynorhinus (Surveying the Ruins…
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Piano - Digital Download SKU: AX.00-XIP-000196 Corynorhinus (Surveying the Ruins). Composed by Hans Zimmer, James Howard, Lorne Balfe, Melvyn Wesson, and Ramin Djawadi. Movie. 3 pages. Alfred Music - Digital Sheet Music #00-XIP-000196. Published by Alfred Music - Digital Sheet Music (AX.00-XIP-000196). UPC: 038081268798.Alfred is pleased to present the sheet music for Corynorhinus (Surveying the Ruins), from the Batman Begins soundtrack. This sheet music provides the song's piano and chord arrangements.
$3.99
3.67 €
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Piano seul
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Hans Zimmer, James Howard, Lorne Balfe, Melvyn Wesson, and Ramin Djawadi
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Corynorhinus
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Contemporary Anthology of Solo Guitar Music
Guitare
Guitar (classical) - Intermediate-Advanced - Digital Download For Five Fingers of the…
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Guitar (classical) - Intermediate-Advanced - Digital Download For Five Fingers of the Right Hand. Composed by Charles Postlewate. Contemporary. Classic. E-book. 158 pages. Mel Bay Publications - Digital Sheet Music #21290EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609746599.<br> <br> This is the first compilation of guitar music specifically composed for right-hand technique that includes the little finger. The 57 compositions include original pieces in the Easy-Intermediate to Intermediate -Advanced levels by renowned guitarist/composers from Europe, North America, South America and the Caribbean. Music by Ernesto Cordero, Carlos Dorado, Jim Ferguson, David Flynn, Gerald Garcia, John Hall, Ricardo Iznaola, James Lentini, John Oliver, Charles Postlewate, Mirko Schrader, Burkhard Buck Wolters and Luis Zea show the advantages of a five-finger technique in the playing of scales, chords, arpeggios, tremolos and harmonics. They also show the advantages of using the little finger for speed, accuracy, strength and balance. All of these compositions are edited and fingered by Postlewate, pioneer in the use of a five-finger technique. This book is a companion to Anthology of Nineteenth Century Guitar Studies for Five Fingers of the Right Hand (MB21153), compiled and fingered by Leonhard Beck and edited by Charles Postlewate. Standard notation only. In English and Spanish.ISBN 9781609746599.<br> <br> This is the first compilation of guitar music specifically composed for right-hand technique that includes the little finger. The 57 compositions include original pieces in the Easy-Intermediate to Intermediate -Advanced levels by renowned guitarist/composers from Europe, North America, South America and the Caribbean. Music by Ernesto Cordero, Carlos Dorado, Jim Ferguson, David Flynn, Gerald Garcia, John Hall, Ricardo Iznaola, James Lentini, John Oliver, Charles Postlewate, Mirko Schrader, Burkhard Buck Wolters and Luis Zea show the advantages of a five-finger technique in the playing of scales, chords, arpeggios, tremolos and harmonics. They also show the advantages of using the little finger for speed, accuracy, strength and balance. All of these compositions are edited and fingered by Postlewate, pioneer in the use of a five-finger technique. This book is a companion to Anthology of Nineteenth Century Guitar Studies for Five Fingers of the Right Hand (MB21153), compiled and fingered by Leonhard Beck and edited by Charles Postlewate. Standard notation only. In English and Spanish.
$22.99
21.16 €
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Guitare
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Charles Postlewate
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Contemporary Anthology of Solo Guitar Music
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
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