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CHORALE - CHAN…
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four binary
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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…
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HARPE
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MARIMBA
OCARINA
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1
Audacious Binary Forms for Pianist (one or two pianos)
Piano seul
Piano Solo - Digital Download SKU: A0.901081 Composed by Paul Copeland. 20th Centur…
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Piano Solo - Digital Download SKU: A0.901081 Composed by Paul Copeland. 20th Century,Contemporary. Score. 50 pages. Paul Copeland #5988217. Published by Paul Copeland (A0.901081). Audacious Binary Forms for pianist playing one or two pianos, won Australia’s most prestigious piano composition competition the Jean Bogan Prize for Piano Composition 2016. The world premiere was performed by Michael Kieran Harvey. He is considered by many as being one of Australia’s greatest living concert pianists. Michael specializes in performing world premieres of compositions by Australian composers. He is also a prolific composer of avant-garde music. ABSTRACT FROM THE GENERAL DIRECTIONS Audacious Binary Forms for piano is in a fractured binary form. Two types of structures exist; lettered structures, which are experimental structures, and explore the sonorities of the piano, and numbered structures, which are more traditional structures. A structure may be a single page or more than one page. Each page in a structure is to be played sequentially. For example, with structure C, consisting of three pages, C1, C2, C3, each page is played sequentially in numerical order, C1, C2, C3. EXPERIMENTAL STRUCTURESThe structures A, B, C, D, E, F, G, Percussion, CADENZA, and CODA are experimental. TRADITIONAL STRUCTURESThe structures 1, 2, 3, 4, 5, and 6, are traditional. PREPARING THE SCORE FOR PERFORMANCE There are four different options for a performance. MINIMALIST OPTIONThe 13 cards cut from the CUTOUT page are shuffled. Card 4 Rag (1,2) is removed. The 12 cards are placed face down. One card is revealed representing the structure that is to be performed. A member of the audience can be invited to shuffle the cards. STOCHASTIC OPTION An audience member or members can be invited to shuffle all the pages of the score. The resultant random sequence of pages becomes the whole score for the performance. PERFORMER’S OPTIONThe performer prepares the structures according to his musical tastes. All of the experimental structures should be performed. The performer is free to play none, some, or all of the traditional structures. Please note that each structure remains an independent structure and is played sequentially. For example, structure C, consisting of three pages would be played C1, C2, C3 in that order. PERFORMER/COMPOSER OPTIONMonths before the concert the performer can contact me at paulcopeland1@bigpond.com, to discuss the performance, and to work out an ideal performance structure for the work, taking into consideration the venue, expected size of audience, size of auditorium, music program, and if two pianos will be available. IMPORTANT INFORMATION REGARDING SHEET MUSIC SIZE Please note that the score should be printed on separate pages (the notated pages), not back to back. Ideally the score should be printed on A3 pages in colour. However the score can still be printed in grayscale. The sheet music file is approximately 15Mb because the score is in full color. BIOGRAPHICAL INFORMATION Paul Copeland is an award-winning multi-genre composer, graphic artist, programmer, teacher, and author, based in his home city of Melbourne. His compositional styles range from neo-classical, jazz, ragtime, and musical theatre to electronic, avant-garde, post-avant-garde, and experimental music. Born in 1947, Copeland grew up an only child in a musical household. His mother was a talented singer, his father an accomplished amateur pianist, composer of popular music, and internationally renowned travelling telepathist known as Argus The Boy Prophet. Copeland's musical studies commenced at the age of 16 when he began studying piano, and a year later, he enrolled at the Melba Conserv.
$20.00
18.41 €
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Piano seul
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Paul Copeland
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Audacious Binary Forms for Pianist
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Paul Copeland
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SheetMusicPlus
Small Binary (Theme and Variations)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1013558 Composed by Abigail Clarke.…
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Piano Solo - Level 4 - Digital Download SKU: A0.1013558 Composed by Abigail Clarke. Classical,Contemporary. Score. 5 pages. Abigail Clarke #6630697. Published by Abigail Clarke (A0.1013558). Theme plus four variations in the classical Small Binary structure. Can be performed as a set or individually. Difficulty level of themes vary from Intermediate to Advanced.Composer contact: abbylalala@hotmail.com.
$7.95
7.32 €
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Piano seul
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Abigail Clarke
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abbylalala@hotmail.com.
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Small Binary
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Abigail Clarke
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SheetMusicPlus
Twenty-four Exercises for Two Cellos, Op. 159
2 Violoncelles (duo)
Cellos - Level 3 - Digital Download SKU: A0.1042144 Composed by Johann Justus Fried…
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Cellos - Level 3 - Digital Download SKU: A0.1042144 Composed by Johann Justus Friedrich Dotzauer. Arranged by Carl Hüllweck. Children,Classical,Instructional,Romantic Period. Educational Exercises. 112 pages. Artistic Score Engraving di Galvagno Michele #646942. Published by Artistic Score Engraving di Galvagno Michele (A0.1042144). The Twenty-four Exercises for Two Cellos, Op. 159, by Johann Justus Friedrich Dotzauer, continue and conclude the series dedicated to the neck positions. These, alongside the just published Twelve Original Pieces, Op. 58, cover the first four positions in all possible variations, using an incredible richness of forms, melody, harmony, and rhythm. After these thirty-six little gems, your students will be able to face much greater challenges with renewed strength and assertiveness. While Op. 58 focused mostly on Theme with Variations, Op. 159’s most used form is the rounded binary one, while no less than three full-fledged fugues enrich the practicing landscape. Due to the lack of the original manuscript, lost during Steiner & Bell’s acquisition of Augener & Co., this edition is based on two surviving editions, by Carl Hüllweck and Johannes Klingenberg, both published in the first decade of the XX century, about 40 years after Dotzauer’s passing. To provide you with the greatest flexibility and choice possibilities, this edition comes in several versions (only C available here, others available on Gumroad): - A: a score only one, based on Hüllweck; - B: two separate sets of parts, one per editor; - C: a score & parts bundle, based once more on Hüllweck; - D: finally, a Collector’s Edition, containing all this, plus a long chapter comparing all differences between Hüllweck’s and Klingenberg’s versions, and an interactive PDF where, at the press of a button, you will be able to switch to the other version of the current part! All PDFs have been optimised to be of the highest Press Quality and lightweight. I truly hope you are going to enjoy this beautiful music and that your cello playing will reach new heights thanks to it!
$34.95
32.16 €
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2 Violoncelles (duo)
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Johann Justus Friedrich Dotzauer
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Carl Hüllweck
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Twenty-four Exercises for Two Cellos, Op. 159
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Skating with the Girls
Piano seul
Piano - Digital Download SKU: LV.15680 Composed by H.F. Standhaft. Ice skating, Clo…
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Piano - Digital Download SKU: LV.15680 Composed by H.F. Standhaft. Ice skating, Clothing & dress. Lester S. Levy Collection. 8 pages. Published by Johns Hopkins University Sheridan Libraries (LV.15680). Skating with the Girls [Introduction, four Waltzes, and Finale]. H.F. Standhaft, Band Master, 30th Reg. Published 1864 by G.D. Russell & Company, 126 Tremont, Opp. Park St. in Boston. Composition of one - three da capo; four binary; Finale sectional with piano instrumentation. Subject headings for this piece include Ice skating, Clothing & dress. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.51 €
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Piano seul
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H
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four binary
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Skating with the Girls
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Brahms: 4 Klavierstücke, Op.119 No.3 Intermezzo in C - wind quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1492334 Composed by Johannes Brahms. Arranged by Ray Thompson. 19th Century,Romantic Period. 10 pages. RayThompsonMusic #1069001. Published by RayThompsonMusic (A0.1492334). Arranged standard wind quintetThe Four Pieces for Piano (German: Klavierstücke) Op. 119, are four character pieces for piano composed by Johannes Brahms in 1893. The collection is the last composition for solo piano by Brahms. Together with the six pieces from Op. 118, Op. 119 was premiered in London in January 1894.This is my arrangement of the 3rd piece ,an Intermezzo in C major.The length of the phrase is twelve bars, subdividing into two six-bar sections. The first six bars can certainly be heard as two three-bar units whereas the second six-bar section can rather be perceived as three times two bars. The second six-bar sub-phrase functions rhythmically as a giant hemiola.This rhythmic gracefulness is opposed by the middle section of the piece. Two eight-bar phrases, subdividing into four-bar units, try to ‘correct’ the twelve-bar phrasing.It is arguable that this piece is in binary form and the B section begins at bar 49 where new material appears.Arranged wind quintet. Check out my other arrangements of Brahms piano works: Various Intermezzos, Ballades and a Romanze, toghether with arrangements of some of his orchestral pieces.
$14.95
13.76 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Johannes Brahms
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Ray Thompson
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Brahms: 4 Klavierstücke, Op.119 No.3 Intermezzo in C - wind quintet
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RayThompsonMusic
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SheetMusicPlus
Suite Revelation for cello and piano
Violoncelle, Piano
Cello,Instrumental Solo,Piano - Level 4 - Digital Download SKU: A0.987858 Composed …
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Cello,Instrumental Solo,Piano - Level 4 - Digital Download SKU: A0.987858 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 32 pages. Robert M. Greenberg #115605. Published by Robert M. Greenberg (A0.987858). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: https://mail.google.com/mail/?tab=wm#inbox/14f3cea616cb0a88?projector=1 Duration: ca. 12 minutes Year of composition: 2014 Program Note: I. Overture II. Nigun no. 9 III. Molad’ti IV. Gilu Hagalilim V. Y’mey Hanoar VI. The Gigue Is Up My apologies upfront for all the first person pronouns in this program note! A few years back, Nina Flyer asked me to write for her a piece of music that would contain or make reference to Jewish/Yiddish/Hebrew dance music and/or folk songs. The more I thought about it, the more difficult I realized the challenge would be. As best as I could tell, I had three options. Option one: I could set said dance music/songs for cello and piano, with the result being a series of arrangements: nice, but artlessly unoriginal (meaning dull). Option two: I could weave the tunes into a single narrative and in doing so write another version of Schlomo (a self-proclaimed Hebraic work for cello and orchestra by Ernst Bloch). Option three: I could make up my own ethnic-sounding melodies and either arrange them for cello and piano or weave them into some sort of Hebraic narrative: options one and two all over again. So I came up with option four. I selected four folk tunes (movements II, III, IV, and V) and composed a counter-melody to each. The first half of movements II, III, IV, and V set that counter-melody without any reference to the original folk tune. The second half of those movements then combines the counter-melody with the original tune (and thus the revelation, as the original tune is revealed). The generally two-part shape described above (excepting movement IV, which is A-B-A in structure) suggested Baroque binary dance form, and so I turned the piece into a sort of Baroque dance suite. It begins with a French Overture based on the counter-melodies of movement III and V, and concludes with a gigue based on the counter melodies of movements II and IV. The historical references are supposed to be tongue-in-cheek and I can only hope they will be taken that way. A thousand-and-one thanks to Nina Flyer and Lori Lack for their patience, hard work, and musical brilliance. Suite Revelation is dedicated – with the greatest respect and affection – to Nina Flyer.
$28.00
25.77 €
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Violoncelle, Piano
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Robert M
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Suite Revelation for cello and piano
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Robert M. Greenberg
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SheetMusicPlus
Jazz Study from 5 to 4
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.901078 Composed by Paul Copeland. 2…
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Piano Solo - Level 4 - Digital Download SKU: A0.901078 Composed by Paul Copeland. 20th Century,Blues,Jazz,Standards. Score. 6 pages. Paul Copeland #4302467. Published by Paul Copeland (A0.901078). G'day from Australia.This little piano miniature is from my prize winning composition Audacious Binary Forms, which won the senior prize in the very prestigious Jean Bogan Prize for Piano Composition 2016.Michael Kieran Harvey, who is considered by many as the greatest living Australian pianist, performed the work. Here is a link to his performance. www.Bit.do/abformsThe Jazz Study from 5 to 4 has a walking bass, which should be played very legato throughout. The right hand is part melodic and part three part chordal. The chords are composed mainly of intervals of fourths, with the outer notes being at the distance of either a major or minor second.The sustain pedal should only be used when the chords are played to assist in the melody line sounding legato.If you play this little piece, I would very much like to hear from you ( paulcopelandzzz@hotmail.com), so that perhaps you can make a youtube video for me to link to.Best wishes to you and your family and I hope you enjoy playing my little piece.Bye for now.Paul Copeland
$1.99
1.83 €
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Piano seul
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Paul Copeland
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Jazz Study from 5 to 4
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Paul Copeland
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SheetMusicPlus
Prairie Landscape (1), for solo Trumpet in Bb and String Orchestra
Orchestre à Cordes
String Orchestra - Level 2 - Digital Download SKU: A0.763274 Composed by Nigel Will…
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String Orchestra - Level 2 - Digital Download SKU: A0.763274 Composed by Nigel Williams. Folk,Instructional. Score and Parts. 10 pages. Nigel Williams #3668511. Published by Nigel Williams (A0.763274). Prairie Landscape' (1) reveals the vastness of the American prairie. It is scored for a solo Trumpet (Bb) and String orchestra. The string writing is chord-based and designed to create a wall of sound on which the solo trumpet weaves a slow-moving melody. The string parts are early intermediate level in difficulty, the solo trumpet part is intermediate level and requires good awareness of dynamics. This music is in binary form, the second section starts at the 24th measure after a brief bridge passage for the strings. The performance duration is two and a half minutes, the full score is four pages and all separate parts are attached.
$12.99
11.95 €
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Orchestre à Cordes
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Nigel Williams
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Prairie Landscape
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Nigel Williams
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SheetMusicPlus
Nocturne In E-Flat Major, Op. 9, No. 2
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1143547 By Frederic Chopin. By Fred…
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Piano Solo - Level 4 - Digital Download SKU: A0.1143547 By Frederic Chopin. By Frederic Chopin. Arranged by Frederic Chopin. Classical,Contemporary,Romantic Period. Score. 3 pages. Unimusic Academy (Academia Unimusica) #743864. Published by Unimusic Academy (Academia Unimusica) (A0.1143547). Chopin composed his best-known Nocturne in Eâ™ major, Op. 9, No. 2 when he was around twenty years old. This well-known nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. It is 34 measures long and written in 12 8 meter, having a similar structure to a waltz. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). The nocturne opens with a legato melody, mostly played piano (quietly), containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato. A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal. The waltz-like accompaniment gently emphasizes the 12 8 meter, 12 beats to the measure subdivided into four groups of 3 beats each.
$8.00
7.36 €
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Piano seul
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Frederic Chopin
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Frederic Chopin
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Nocturne In E-Flat Major, Op. 9, No. 2
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Unimusic Academy
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SheetMusicPlus
Frederic Chopin - Nocturne in E-flat major, Op.9, No.2 - lead sheet
Ligne De Mélodie, (Paroles) et Accords
Small Ensemble C Instrument - Digital Download SKU: A0.601859 Composed by Frederic …
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Small Ensemble C Instrument - Digital Download SKU: A0.601859 Composed by Frederic Chopin. Arranged by Andre Maaker. Holiday,Instructional,Romantic Period,Standards,Wedding. Lead Sheet / Fake Book. 2 pages. SheetMusicHub #6706333. Published by SheetMusicHub (A0.601859). This is a lead sheet style notation (melody, chords, form) of a brilliant masterpiece by Frederic Chopin.From Wikipedia: Chopin composed his best-known Nocturne in Eâ™ major, Op. 9, No. 2 when he was around twenty years old. This well-known nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. It is 34 measures long and written in 12 8 meter, having a similar structure to a waltz. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo).The nocturne opens with a legato melody, mostly played piano (quietly), containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato. A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal.The waltz-like accompaniment gently emphasizes the 12 8 meter, 12 beats to the measure subdivided into four groups of 3 beats each..
$4.00
3.68 €
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Ligne De Mélodie, (Paroles) et Accords
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Frederic Chopin
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Andre Maaker
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Frederic Chopin - Nocturne in E-flat major, Op.9, No.2 - lead sheet
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SheetMusicHub
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SheetMusicPlus
Scarlatti and Weiss for Guitar
Classic guitar - Intermediate - Digital Download SKU: M0.30557EB Composed by Lily A…
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Classic guitar - Intermediate - Digital Download SKU: M0.30557EB Composed by Lily Afshar. Arranged by Lily Afshar. Classical. E-book. Mel Bay Publications - Digital Sheet Music #30557EB. Published by Mel Bay Publications - Digital Sheet Music (M0.30557EB). ISBN 9781619116337. 8.75x11.75 inches.Born in the Italian city of Naples, Giuseppe Domenico Scarlatti (1685-1757) was one of the few Baroque composers to transition into the Classical period. Scarlatti composed operas, cantatas, symphonias and liturgical pieces, but his 555 keyboard sonatas are most well-known; a vast collection of single movements in binary form. Lily Afshar's arrangement of Sonata K. 11 (a favorite of Segovia) utilizes staccato articulation reminiscent of the harpsichord and other techniques including cross-string trills and minimal slurs. The pair of sonatas work well together, written in E minor and E major.Sylvius Leopold Weiss (1687-1750) was the most accomplished lutenist of the Baroque period and the most prolific composer of lute music, writing over one thousand pieces for the instrument. The four pieces arranged in this book show the beautiful polyphony and fantastical writing of Weiss. Afshar utilizes campanella (cross-string) fingerings throughout to emphasize the musical line and produce a fuller sound on the instrument.
$9.99
9.19 €
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Lily Afshar
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Lily Afshar
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Scarlatti and Weiss for Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Divertimento for Saxophone Quartet
Quatuor de Saxophones: 4 saxophones
Saxophone Quartet,Woodwind Ensemble - Level 5 - Digital Download SKU: A0.755222 Com…
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Saxophone Quartet,Woodwind Ensemble - Level 5 - Digital Download SKU: A0.755222 Composed by Sy Brandon. 20th Century,Contemporary. 95 pages. Sy Brandon #3418983. Published by Sy Brandon (A0.755222). Divertimento is in three movements. The first movement Frolic has three main thematic ideas. The first contains dotted rhythms, staccato articulation, and meter change. The second thematic idea is related to the first in that it also uses dotted rhythms and meter change, but is more legato and begins with more sustained notes. The third thematic section is thinner in texture, more playful, and has a legato theme over a staccato background. The motivic material in each of these sections has similarities. Contrast is primarily obtained through change of style and mood. These thematic ideas develop throughout the movement by varying key, instrumentation, and melodic material. There are several sections of imitation that are very energetic. The second movement Ballad is lyrical at an Andante tempo. The form of the movement is through-composed as the motives develop into new variations instead of having clearly distinguished themes. There is however a recapitulation that brings the listen back to the opening material. The main motives that develop are a sixteenth note pattern that is arpeggiated and also stepwise, a dotted quarter and eighth note idea that is often on weak beats as well as appearing on strong beats, and scalewise eighth note lines. All of these interweave among the parts with frequent counterpoint and some imitation. The harmony is lush with seventh chords used frequently. The last movement Tarantella is in a lively tempo. The form of this movement is a large ABA(Scherzo, Trio, Scherzo). The A sections are in triple meter while the B section is in duple. The A section is in three parts, forming an ABA within the large A. The material for the first part is motivically derived. The first motive is a dotted eighth, sixteenth, eighth note followed by even eighth notes. The second motive is four chromatic sixteenth notes followed by an eighth note. This motive appears both ascending and descending. The B section within this large A consists of a slurred melodic line that has both stepwise motion and leaps. It is accompanied by staccato chromatic eighth notes. The large B section is folksong-like and is in a recognizable binary form that repeats in a new key. The large A serves as a recapitulation of the opening section and it ends lightly and playfully in keeping with the Divertimento title that means to divert or amuse.
$14.99
13.8 €
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Quatuor de Saxophones: 4 saxophones
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Sy Brandon
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Divertimento for Saxophone Quartet
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Sy Brandon
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SheetMusicPlus
Six Sonates d'un genre facile et agréable à violoncello et basso, op. 28
Violoncelle, Contrebasse (duo)
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - Digital Download SKU:…
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - Digital Download SKU: A0.841356 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 106 pages. Artistic Score Engraving di Galvagno Michele #6029285. Published by Artistic Score Engraving di Galvagno Michele (A0.841356). Jean-Baptiste Sebastien Bréval (1753-1823) was a French cellist and composer, who is, perhaps, best known for his cello sonatas, namely the ones in C major (Op. 40, No. 1) and G major (Op. 12, No. 5). Bréval was one of the last students of the cellist and composer Martin Berteau (1691-1771), continuing his teacher’s tradition of composing sonatas for cello with bass accompaniment. With both composers, the bass part was to be played by a second cello, very likely by the cello teacher. Many cellists opt in to have Berteau’s unfigured bass part realised by a harpsichord. However, the two-cello layout was common in the late Classical Era, especially in method books, such as Bréval’s own Traité du violoncelle (where Bréval states that the bass and the cello are one and the same), as well as Romberg’s, Dotzauer’s, et al. Romberg and Dotzauer even composed sonatas for cello and basso (second cello) accompaniment as well, Op. 43 and Op. 103, respectively. Our current publication presents student cellists with a beautifully engraved edition of Bréval’s 6 Cello Sonatas, Op. 28 and Air de Malborough, Op. 13. Bréval composed the Sonatas in c1795, most likely in conjunction with Op. 40, since Op. 28, No. 1 picks up right where Op. 40, No. 6 leaves off. Whereas Op. 40 and Op. 28, Nos. 1-4 are in two fast movements, Op. 28, Nos. 5 and 6 include a slow middle movement, No. 6 even using the thumb. The autograph, which the editor used as the primary source, and the first edition both present each sonata on four pages in score form. Our volume includes a score and parts for each player. The cello part includes fingering and bowing suggestions by Yuriy Leonovich. Each sonata begins with an Allegro movement in sonata form. The finales vary from five-part rondos (Nos. 1, 3, 5), to sonata form (Nos. 2, 6), to theme and variations (No. 4). The slow movement of No. 5 is in simple binary form, and No. 6 is in simple ternary. The six keys Bréval used for Op. 28 are the same as the ones he used for Op. 40, only in a different order. Op. 40 uses the following order: C, F, G, B-flat, A, D. Op. 28 uses the following order: D, C, A, G, B-flat, F. The Op. 28 sonatas are primarily written in tenor clef, whereas Op. 40 is primarily written in bass clef. The playing range is identical for both sets, with the exception of the high B-flat in m. 46 in the slow movement of No. 6, and high B and C in m. 37 of the finale of No. 6. Bréval explores more advanced bow techniques as well.
$24.95
22.96 €
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Violoncelle, Contrebasse (duo)
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Jean-Baptiste Breval
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Six Sonates d'un genre facile et agréable à violoncello et basso, op. 28
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Divertimento for Woodwind Quartet
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 5 - Digital Downloa…
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 5 - Digital Download SKU: A0.755218 Composed by Sy Brandon. 20th Century,Contemporary. 93 pages. Sy Brandon #3418979. Published by Sy Brandon (A0.755218). Divertimento is in three movements. The first movement Frolic has three main thematic ideas. The first contains dotted rhythms, staccato articulation, and meter change. The second thematic idea is related to the first in that it also uses dotted rhythms and meter change, but is more legato and begins with more sustained notes. The third thematic section is thinner in texture, more playful, and has a legato theme over a staccato background. The motivic material in each of these sections has similarities. Contrast is primarily obtained through change of style and mood. These thematic ideas develop throughout the movement by varying key, instrumentation, and melodic material. There are several sections of imitation that are very energetic. The second movement Ballad is lyrical at an Andante tempo. The form of the movement is through-composed as the motives develop into new variations instead of having clearly distinguished themes. There is however a recapitulation that brings the listen back to the opening material. The main motives that develop are a sixteenth note pattern that is arpeggiated and also stepwise, a dotted quarter and eighth note idea that is often on weak beats as well as appearing on strong beats, and scalewise eighth note lines. All of these interweave among the parts with frequent counterpoint and some imitation. The harmony is lush with seventh chords used frequently. The last movement Tarantella is in a lively tempo. The form of this movement is a large ABA(Scherzo, Trio, Scherzo). The A sections are in triple meter while the B section is in duple. The A section is in three parts, forming an ABA within the large A. The material for the first part is motivically derived. The first motive is a dotted eighth, sixteenth, eighth note followed by even eighth notes. The second motive is four chromatic sixteenth notes followed by an eighth note. This motive appears both ascending and descending. The B section within this large A consists of a slurred melodic line that has both stepwise motion and leaps. It is accompanied by staccato chromatic eighth notes. The large B section is folksong-like and is in a recognizable binary form that repeats in a new key. The large A serves as a recapitulation of the opening section and it ends lightly and playfully in keeping with the Divertimento title that means to divert or amuse.
$14.99
13.8 €
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Flûte, Hautbois, Clarinette, Basson
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Sy Brandon
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Divertimento for Woodwind Quartet
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Sy Brandon
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SheetMusicPlus
Divertimento
Oboe, clarinet, bassoon - Digital Download SKU: IZ.BCMS171 Composed by Sy Brandon. …
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Oboe, clarinet, bassoon - Digital Download SKU: IZ.BCMS171 Composed by Sy Brandon. BCMCC (Bassoon Chamber Music Composition Competition). Score and Parts. 69 pages. Imagine Music - Digital #BCMS171. Published by Imagine Music - Digital (IZ.BCMS171). 9 x 12 in inches.Divertimento is in three movements. The first movement, Frolic, has three main thematic ideas. The first contains dotted rhythms, staccato articulation, and meter change. The second thematic idea is related to the first in that it also uses dotted rhythms and meter change, but is more legato and begins with more sustained notes. The third thematic section is thinner in texture, more playful, and has a legato theme over a staccato background. The motivic material in each of these sections has similarities. Contrast is primarily obtained through change of style and mood. These thematic ideas develop throughout the movement by varying key, instrumentation, and melodic material. There are several sections of imitation that are very energetic.The second movement, Ballad, is lyrical at an Andante tempo. The form of the movement is through-composed as the motives develop into new variations instead of having clearly distinguished themes. There is however a recapitulation that brings the listen back to the opening material. The main motives that develop are a sixteenth note pattern that is arpeggiated and also stepwise, a dotted quarter and eighth note idea that is often on weak beats as well as appearing on strong beats, and scalewise eighth note lines.All of these interweave among the parts with frequent counterpoint and some imitation. The harmony is lush with seventh chords used frequently.The last movement, Tarantella, is in a lively tempo. The form of this movement is a large ABA(Scherzo, Trio, Scherzo). The A sections are in triple meter while the B section is in duple. The A section is in three parts, forming an ABA within the large A. The material for the first part is motivically derived. The first motive is a dotted eighth, sixteenth, eighth note followed by even eighth notes. The second motive is four chromatic sixteenth notes followed by an eighth note. This motive appears both ascending and descending. The B section within this large A consists of a slurred melodic line that has both stepwise motion and leaps. It is accompanied by staccato chromatic eighth notes. The large B section is folksong-like and is in a recognizable binary form that repeats in a new key. The large A serves as a recapitulation of the opening section and it ends lightly and playfully in keeping with the Divertimento title that means to divert or amuse.
$32.00
29.45 €
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Sy Brandon
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Divertimento
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Imagine Music - Digital
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SheetMusicPlus
Silent Night Prelude for five marimbas
Small Ensemble Marimba - Level 2 - Digital Download SKU: A0.935384 Arranged by Phar…
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Small Ensemble Marimba - Level 2 - Digital Download SKU: A0.935384 Arranged by Pharaoh Publications. Christian,Christmas. Score and parts. 21 pages. Pharaoh Publications #5363017. Published by Pharaoh Publications (A0.935384). Silent Night Prelude for five marimbas arr. by Dan Heslink This work is based on the well-loved Christmas carol, composed in 1818 by Franz Xaver Gruber. This theme is so popular that it was declared an intangible cultural heritage by UNESCO in 2011. And the version sung by Bing Crosby in 1935 is the fourth best-selling single recording of all-time. It’s sure to motivate your audience close to Christmas. The Prelude begins with a brisk tempo. Although notated in 3, as is customary in more modern renditions (the original theme was notated in 6), the tempo must be fast enough that two measures of 3 create a binary pairing (like 6/4 in two). It may be necessary to slightly slow down the roll speed to avoid a frenetic sound. The difficulty level is easy. There are no changes of key, and keyboard parts require only two mallets each. The expression of this beautiful tune will be greatly enhanced by exaggerating the contrasts of dynamics. Accompaniment and ornamental figures must at all times be sublimated to the familiar theme. At letter D, players should sing the well-known words in order to lead the audience or congregation in group singing. It would be helpful for the conductor to turn and face the audience at this point. This closing passage may be repeated for any number of sung verses. Use a smooth, relaxed stroke to elicit as much legato as possible. At points a continuous arpeggio accompaniment is divided among the instruments. Care must be taken to keep the sixteenth note speed consistent. Prelude on Silent Night would serve equally well in recital or in a church service. Duration is 2:20. A recording of this arrangement scored for percussion octet is available under the listing for Silent Night Prelude for Percussion Octet. The arranger, Dan Heslink, can be contacted at dan@dheslink.com
$4.99
4.59 €
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Pharaoh Publications
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Silent Night Prelude for five marimbas
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Pharaoh Publications
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SheetMusicPlus
Silent Night Prelude for percussion octet
Ensemble de Percussions
Percussion Ensemble - Level 2 - Digital Download SKU: A0.935383 Composed by Franz X…
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Percussion Ensemble - Level 2 - Digital Download SKU: A0.935383 Composed by Franz Xaver Gruber. Arranged by Dan Heslink. Christian,Christmas. Score and parts. 20 pages. Pharaoh Publications #5363007. Published by Pharaoh Publications (A0.935383). Silent Night Prelude for Percussion Octet arr. by Dan Heslink This work is based on the well-loved Christmas carol, composed in 1818 by Franz Xaver Gruber. This theme is so popular that it was declared an intangible cultural heritage by UNESCO in 2011. And the version sung by Bing Crosby in 1935 is the fourth best-selling single recording of all-time. It’s sure to motivate your audience close to Christmas. The Prelude begins with a brisk tempo. Although notated in 3, as is customary in more modern renditions (the original theme was notated in 6), the tempo must be fast enough that two measures of 3 create a binary pairing (like 6/4 in two). It may be necessary to slightly slow down the roll speed to avoid a frenetic sound. The difficulty level is easy. There are no changes of key, and the timpani part requires only two drums (Bb, F) with no tuning changes. The vibe part could be played with two mallets, but might execute more comfortably with three. The other keyboard parts use only two mallets each. The expression of this beautiful tune will be greatly enhanced by exaggerating the contrasts of dynamics. Accompaniment and ornamental figures must at all times be sublimated to the familiar theme. At the last strain, players should sing the well-known words in order to lead the audience or congregation in group singing. It would be helpful for the conductor to turn and face the audience at this point. This closing passage may be repeated for any number of sung verses. Use a smooth, relaxed stroke to elicit as much legato as possible. At points a continuous arpeggio accompaniment is divided among the instruments. Care must be taken to keep the sixteenth note speed consistent. The opening runs should be performed half-pedal on the vibes for clarity. Prelude on Silent Night would serve equally well in recital or in a church service. Duration is 3:10. The arranger, Dan Heslink, can be contacted at dan@dheslink.com
$4.99
4.59 €
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Ensemble de Percussions
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Franz Xaver Gruber
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Dan Heslink
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Silent Night Prelude for percussion octet
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Pharaoh Publications
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SheetMusicPlus
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