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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
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CHORALE - CHAN…
CITHARE
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FORMATION MUSI…
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LIVRES
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MANDOLINE
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OCARINA
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TROMPETTE
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UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
tonal sections
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26
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20
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2
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1
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1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
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151
Quasi-tonal Fanfare for Brass and Percussion
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Drew Morris
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Quasi-tonal Fanfare for Brass
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Yellow Envelope Publications
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SheetMusicPlus
Brass Band Baritone Horn TC,Euphonium,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1272834 Composed by Drew Morris. 21st Century,Chamber,Classical,Contempo...
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Brass Band Baritone Horn TC,Euphonium,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1272834 Composed by Drew Morris. 21st Century,Chamber,Classical,Contemporary,Contest,Festival. Score and Parts. 45 pages. Yellow Envelope Publications #865032. Published by Yellow Envelope Publications (A0.1272834). Quasi-tonal Fanfare for Brass and Percussion starts with a flurry of double tonguing in the trumpets, then rips into a whole series of sections that jump around tonality at random, sometimes following harmonic structures, sometimes not.The percussion is used not simply as support for the brass, but as an equally important voice, weaving in and out of the texture, supplying important direction and momentum to the piece.Instrumentation4 Trumpet, 4 Horn, 3 Trombone, Euphonium, Tuba6 Percussionists - Timpani, Snare Drum, Bass Drum, Concert Toms (4), Temple Blocks, Whip/Slapstick
$45.00
TE DEUM - Score Only
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Orchestre
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Musique Sacrée
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LORENZO ONDARRA QUINTANA
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TE DEUM - Score Only
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OE OFICINA
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SheetMusicPlus
Full Orchestra - SKU: A0.1112762 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 84 pages. OE OFICINA #714754. Published ...
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Full Orchestra - SKU: A0.1112762 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 84 pages. OE OFICINA #714754. Published by OE OFICINA (A0.1112762). Para 4 voces mixtas y orquesta sinfónica - I Centenario Provinciae Capucinae Nav. - Cant. - Arag. ORCHESTRAL SCORES ARE AVAILABLE FOR RENTAL The Te Deum for mixed choir and symphony orchestra by Lorenzo Ondarra (1931- 2012) was composed in 1998 at the request of the Provincial Curia of the Capuchin Friars, to commemorate the First Centenary, in 2000, of the Restoration of the Navarre, Cantabria and Aragón Capuchin Province. The main theme is the Gregorian melody of the Te Deum, a thanksgiving hymn, which combines the melody of the Tonus Solemnis and the Tonus Simplex. The Gregorian melody alternates between the choir and the orchestra, and develops in a free style as a paraphrase, with frequent melodic movements through parallel fourths and fifths: a typical feature of Ondarra’s compositional language. Modal features permeate the entire work, succeeding one another with tonal sections and even bitonal elements. Ondarra’s orchestration reflects an outstanding work, in which the wind instruments, together with the ubtlety of the woods and strings, plays an important role. Through its deep religiosity, the work combines recollection and the invitation to prayer with moments of brilliance in the treatment of the voices, which are exquisitely interwoven with the orchestral timbres. El Te Deum para coro mixto y orquesta sinfónica de Lorenzo Ondarra (1931- 2012) fue compuesto en 1998 por encargo de la Curia Provincial de los Hermanos Capuchinos, para conmemorar el Primer Centenario, en 2000, de la Restauración de la Provincia Capuchina de Navarra, Cantabria y Aragón. El material temático principal es la melodÃa gregoriana del Te Deum – himno de acción de gracias – alternando la melodÃa del Tonus Solemnis y del Tonus Simplex. La melodÃa gregoriana aparece de forma alternada por el coro y por la orquesta, y se desarrolla en un estilo libre a modo de paráfrasis, con frecuentes movimientos melódicos por cuartas y quintas paralelas, propios del lenguaje compositivo de Ondarra. Los rasgos modales impregnan toda la obra, y se suceden con secciones tonales e incluso con elementos bitonales. La orquestación de Ondarra refleja un brillante trabajo, otorgando una presencia importante a los instrumentos de viento, junto a la sutileza de maderas y cuerdas. La obra combina desde su profunda religiosidad, el recogimiento y la invitación a la oración, con momentos de luminosidad en el tratamiento de las voces, exquisitamente entretejidas con los timbres orquestales. Lorenzo Ondarraren abesbatza misto eta orkestra sinfonikorako Te Deum (1931- 2012) 1998an konposatu zen Anaia Kaputxinoen Probintzia Kuriaren enkarguz, 2000. urtean Nafarroa, Kantabria eta Aragoiko Kaputxinoen probintziaren zaharberritzearen lehenengo mendeurrena ospatzeko. Material tematiko nagusia Te Deum -eko melodÃa gregorianoa da, Tonus Solemnis-eko eta Tonus Simplex- eko melodiak aldizkatuz. Melodia gregorianoa txandaka azaltzen da koruaren eta orkestraren bitartez interpretatuz eta Ondarraren konposatzeko eran ohikoa den bezala estilo libre batean parafrasi moduan garatuta eta gehienetan laudun eta bostun paraleloekin egindako melodiekin osatuta dago. Obra ezaugarri modalez beterik dago, sekzio tonalak eraikiz edota elementu bitonalak izanik. Ondarraren orkestrazioak lan paregabea helarazten du, haize-instrumentuen presentzia nagusituz eta zur-instrumentuen eta hari instrumentuen presentzia sotilduz. Obra honek, sakoneko erlijiotasuna eta ahotsen eta orkestraren arteko nahasketa paregabea konbinatzen ditu.
$24.99
TE DEUM Reducción para piano y 4 voces mixtas - Score Only
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Orchestre
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Musique Sacrée
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LORENZO ONDARRA QUINTANA
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TE DEUM Reducción para
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OE OFICINA
#
SheetMusicPlus
Full Orchestra - SKU: A0.1112703 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 48 pages. OE OFICINA #714716. Published ...
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Full Orchestra - SKU: A0.1112703 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 48 pages. OE OFICINA #714716. Published by OE OFICINA (A0.1112703). Para 4 voces mixtas y orquesta sinfónica - REDUCCIÓN A 4 voces mixtas y piano In I Centenario Provinciae Capucinae Nav. - Cant. - Arag. ORCHESTRAL SCORES ARE AVAILABLE FOR RENTAL The Te Deum for mixed choir and symphony orchestra by Lorenzo Ondarra (1931- 2012) was composed in 1998 at the request of the Provincial Curia of the Capuchin Friars, to commemorate the First Centenary, in 2000, of the Restoration of the Navarre, Cantabria and Aragón Capuchin Province. The main theme is the Gregorian melody of the Te Deum, a thanksgiving hymn, which combines the melody of the Tonus Solemnis and the Tonus Simplex. The Gregorian melody alternates between the choir and the orchestra, and develops in a free style as a paraphrase, with frequent melodic movements through parallel fourths and fifths: a typical feature of Ondarra’s compositional language. Modal features permeate the entire work, succeeding one another with tonal sections and even bitonal elements. Ondarra’s orchestration reflects an outstanding work, in which the wind instruments, together with the ubtlety of the woods and strings, plays an important role. Through its deep religiosity, the work combines recollection and the invitation to prayer with moments of brilliance in the treatment of the voices, which are exquisitely interwoven with the orchestral timbres. El Te Deum para coro mixto y orquesta sinfónica de Lorenzo Ondarra (1931- 2012) fue compuesto en 1998 por encargo de la Curia Provincial de los Hermanos Capuchinos, para conmemorar el Primer Centenario, en 2000, de la Restauración de la Provincia Capuchina de Navarra, Cantabria y Aragón. El material temático principal es la melodÃa gregoriana del Te Deum – himno de acción de gracias – alternando la melodÃa del Tonus Solemnis y del Tonus Simplex. La melodÃa gregoriana aparece de forma alternada por el coro y por la orquesta, y se desarrolla en un estilo libre a modo de paráfrasis, con frecuentes movimientos melódicos por cuartas y quintas paralelas, propios del lenguaje compositivo de Ondarra. Los rasgos modales impregnan toda la obra, y se suceden con secciones tonales e incluso con elementos bitonales. La orquestación de Ondarra refleja un brillante trabajo, otorgando una presencia importante a los instrumentos de viento, junto a la sutileza de maderas y cuerdas. La obra combina desde su profunda religiosidad, el recogimiento y la invitación a la oración, con momentos de luminosidad en el tratamiento de las voces, exquisitamente entretejidas con los timbres orquestales. Lorenzo Ondarraren abesbatza misto eta orkestra sinfonikorako Te Deum (1931- 2012) 1998an konposatu zen Anaia Kaputxinoen Probintzia Kuriaren enkarguz, 2000. urtean Nafarroa, Kantabria eta Aragoiko Kaputxinoen probintziaren zaharberritzearen lehenengo mendeurrena ospatzeko. Material tematiko nagusia Te Deum -eko melodÃa gregorianoa da, Tonus Solemnis-eko eta Tonus Simplex- eko melodiak aldizkatuz. Melodia gregorianoa txandaka azaltzen da koruaren eta orkestraren bitartez interpretatuz eta Ondarraren konposatzeko eran ohikoa den bezala estilo libre batean parafrasi moduan garatuta eta gehienetan laudun eta bostun paraleloekin egindako melodiekin osatuta dago. Obra ezaugarri modalez beterik dago, sekzio tonalak eraikiz edota elementu bitonalak izanik. Ondarraren orkestrazioak lan paregabea helarazten du, haize-instrumentuen presentzia nagusituz eta zur-instrumentuen eta hari instrumentuen presentzia sotilduz. Obra honek, sakoneko erlijiotasuna eta ahotsen eta orkestraren arteko nahasketa paregabea konbinatzen ditu.
$14.90
Vagabond
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Jonathan Williams
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Vagabond
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Jonathan Williams
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1208769 Composed by Jonathan Williams. Contemporary. Score. 5 pages. Jonathan Williams #806871. Published by Jonathan Wil...
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Piano Solo - Level 4 - SKU: A0.1208769 Composed by Jonathan Williams. Contemporary. Score. 5 pages. Jonathan Williams #806871. Published by Jonathan Williams (A0.1208769). Vagabond Jonathan Williams (b. 1991)As the title suggests, Vagabond lacks a tonal center, or key (i.e. C major). Some refer to all such music as “atonal,†yet sections of this piece include a variety of chords and chord progressions that hint towards traditional tonality. For example, the first three rolled chords could be labeled B diminished, A major seventh, and F dominant ninth, respectively. Regardless of their possible names, these are chords commonly heard in tonal music, especially classical and jazz works.While the piece weaves through hinted key areas, the melody wanders as well. The first two measures of the unaccompanied, opening theme include all twelve pitch classes (A, A♯, B, …, G, G♯) exactly once. This is called a “row,†and it is essential to twelve-tone music as first created by Arnold Schönberg (1874 - 1951). The remainder of Vagabond exclusively includes manipulations of the opening row. Various renderings of the row are audibly similar, while the majority obscure their resemblance by splitting the row across the hands, combining adjacent notes into chords, or modifying the rhythm.After a final reprise of the opening, Vagabond commences with a series of fading chords and a last chord that may sound like a dominant seventh chord in its least common inversion. In this context, the sound and feel of a dominant seventh chord is lost. While this quality is frequently used as a penultimate chord to instill intensity before an anticipated finale, in Vagabond it serves to let the listener imagine an endless wandering.
$4.95
The Adventures of the Space Cowboy
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Ensemble de cuivres
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INTERMÉDIAIRE
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Contemporain
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Xavier Hawpe
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The Adventures of the Space Co
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Xavier Hawpe
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.1033056 Composed by Xavier Hawpe. Contemporary. Score and parts. 13 pages. Xavier Hawpe #6244607. Published by Xavier...
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Brass Ensemble - Level 3 - SKU: A0.1033056 Composed by Xavier Hawpe. Contemporary. Score and parts. 13 pages. Xavier Hawpe #6244607. Published by Xavier Hawpe (A0.1033056). A beautiful and moving brass quintet piece written by Xavier Hawpe. With four different tonal sections, multiple time signature and tempo changes, and lyrical flowing lines mixed with powerful driving rhythms, this piece will challenge the players, but is also rewarding and fun to play.
$19.99
Backtalk - Lead Sheet
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Jazz combo
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INTERMÉDIAIRE
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Jazz
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Henry Godfrey
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tonal sections
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Backtalk - Lead Sheet
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Henry Godfrey
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SheetMusicPlus
Jazz Combo - Level 3 - SKU: A0.1016737 Composed by Henry Godfrey. Jazz. Score and parts. 6 pages. Henry Godfrey #5957577. Published by Henry Godfrey (A0...
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Jazz Combo - Level 3 - SKU: A0.1016737 Composed by Henry Godfrey. Jazz. Score and parts. 6 pages. Henry Godfrey #5957577. Published by Henry Godfrey (A0.1016737). Fast latin/swing tune with dark modal & tonal sections. Counterpoint is written in for two horns.
$2.99
Nueva York Tropical
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William Ortiz
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Nueva York Tropical
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William Ortiz
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1510918 Composed by William Ortiz. 21st Century,Chamber,Classical,Contemporary,Latin. 52 pages. William Ortiz #108...
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Chamber Orchestra - Level 4 - SKU: A0.1510918 Composed by William Ortiz. 21st Century,Chamber,Classical,Contemporary,Latin. 52 pages. William Ortiz #1086135. Published by William Ortiz (A0.1510918). “Nueva York Tropical”, for Flute, Oboe, Clarinet, Percussion, Violin, Violoncello and Piano, is a vibrant musical work that fuses popular music elements of Latin influences, evoking the energy and diversity of New York City. Inspired by the rich cultural tapestry of the city’s Latinx communities, this composition brings together the driving beats of salsa, the syncopated grooves of Hip-Hop, and the sweet, nostalgic melodies of song and bolero, all underpinned by modern harmonic structures and atonal passages. It is an exploration of dance. Beyond its rhythmic celebration, “Nueva York Tropical” also carries a message of social consciousness. It draws attention to the challenges faced by Latino communities, in the struggles of gentrification. The composition seeks to embody the resilience and spirit of these communities, when the musicians are called upon to chant “Shelter the community for free” repeatedly in protest mode. Through its infectious rhythms, bold atonal sections, and idyllic melodies, the piece becomes both a tribute and a call to action for social justice thru music. In “Nueva York Tropical”, the music doesn’t just invite you to sway, to dance – it also invites you to reflect, to think and to recognize the vibrant contributions that pop culture can instill in contemporary classical music.
$13.95
Divertimento, for Piano, Four-Hands (1969)
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Richard St
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Divertimento, for Piano, Four-
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Richard St. Clair
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.939781 Composed by Richard St. Clair. 20th Century. Score. 62 pages. Richard St. Clair #3629765. Published by Richard St....
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Piano Solo - Level 4 - SKU: A0.939781 Composed by Richard St. Clair. 20th Century. Score. 62 pages. Richard St. Clair #3629765. Published by Richard St. Clair (A0.939781). This high-spirited neoclassical spoof of Stravinsky is sure to please the listener. A romp through many dance-like sections, some tonal, some polytonal, ending with a comic polytonal-tonal cadence.
$24.99
Echoes from a Fractured Dimension
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Piano seul
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Contemporain
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Michael Staff
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Echoes from a Fractured Dimens
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Michael Staff
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SheetMusicPlus
Piano Solo - SKU: A0.1012135 Composed by Michael Staff. Contemporary. Score. 13 pages. Michael Staff #3587495. Published by Michael Staff (A0.1012135). ...
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Piano Solo - SKU: A0.1012135 Composed by Michael Staff. Contemporary. Score. 13 pages. Michael Staff #3587495. Published by Michael Staff (A0.1012135). This larger work is a one-movement sonata, while at the same time encompassing 4 movements within its structure. As a double-function form, 'Echoes' also employs contrapuntal techniques, bridging the development and recapitulation with a four-voice fugue. The compositional techniques used depict several abstract mathematical concepts. Tonal stability is increased and decreased throughout, particularly in the recitative sections. This changing of tonal stability depicts the intersecting of dimensions. A being existing in a 2-dimensional world, such as an insect on a flat surface, may occasionally get a glimse of 3 dimensions when a 3-dimensional being or object passes through the second dimension. This glimpse, however, on the part of the 2-dimensional being, is incomplete and does not accurately represent a world of a higher dimension. Similarly, at the intersection of our world with an even higher spatial dimension, we would only catch incomplete glimpses of this higher dimension. These polytonal and structural elements depict another concept. While a square is 2-dimensional, and a cube is 3-dimensional, it is possible for an object to exist in between 2 and 3 dimensions (by dividing logarithms). This idea of a fractional dimension is explored as thematic material is pulled between tonal centers, but never truly settling.
$9.95
Create, Cries My Soul
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Chorale SATB
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INTERMÉDIAIRE
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Sy Brandon
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Create, Cries My Soul
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Sy Brandon
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.755115 Composed by Sy Brandon. 20th Century,Concert,Contemporary. Octavo. 12 pages. Sy Brandon #3392245. Publish...
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Choral Choir (SATB) - Level 3 - SKU: A0.755115 Composed by Sy Brandon. 20th Century,Concert,Contemporary. Octavo. 12 pages. Sy Brandon #3392245. Published by Sy Brandon (A0.755115). The text is by Bob Feinberg and the setting uses mostly minor tonality. Sections of counterpoint alternate with more homophonic sections.
$1.99
3 Preludes for a Quarantine for Solo Piano
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Piano seul
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AVANCÉ
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Contemporain
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Anthony Bannach
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3 Preludes for a Quarantine fo
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Anthony Bannach Music
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.995184 Composed by Anthony Bannach. 20th Century,Contemporary. Score. 16 pages. Anthony Bannach Music #5794481. Published...
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Piano Solo - Level 5 - SKU: A0.995184 Composed by Anthony Bannach. 20th Century,Contemporary. Score. 16 pages. Anthony Bannach Music #5794481. Published by Anthony Bannach Music (A0.995184). I hope everyone has been doing well during this crazy time. Originally I wrote these preludes as parts of composing exercises for Alan Belkin's book Music Composition: Craft and Art. They sat around for a bit until during the quarantine when I took a look at them again. I realized that these pieces had a lot of character to them, and they were quite distinct in nature. The first movement is a simple ternary form piece which begins and ends in the key of g minor and has a very neo-romantic tonal space. The B section is a brisk, more straight-forward tonal texture, but has a fun little twist sequencing up near the end of the section. The second movement was composed with the B vs Bb dichotomy functioning as a germinating cell for the rest of the movement's material. More impressionistic and mysterious than the other two movements, it also lacks a more traditional formal structure, instead relying on the development of motivic cells to make the movement cohere together in a logical way. The third movement is also a modified ternary movement, but with the A sections being played at different speeds, and the second A ending having an outro section attached. The B section is also more like a sonata form developmental section (without the required tonic-dominant modulatory feature). This movement is not only tonally very colorful, but also dynamic in regards to tempo, slowing and quickening often, giving the piece a continual sense of renewed spirit. Rather than just release the preludes as seperate pieces, I found that when played in a certain sequence, they represent a progression of mental and spiritual being that many people have, including myself, been going through during this time. As such, I made them into a suite. If it brings you a little bit of joy or excitement during this time (and after this is over), that's all that I can hope for.
$10.00
Germaine Tailleferre: Concerto for two guitars and orchestra, reduction for two guitars and piano
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Piano, Guitare (duo)
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INTERMÉDIAIRE/AVANCÉ
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Germaine Tailleferre
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Paul Wehage
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Germaine Tailleferre: Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Guitar,Piano - Level 4 - SKU: A0.534485 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Standards. Score and part. 58 pages. Mus...
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Guitar,Piano - Level 4 - SKU: A0.534485 Composed by Germaine Tailleferre. Arranged by Paul Wehage. 20th Century,Standards. Score and part. 58 pages. Musik Fabrik Music Publishing #3534811. Published by Musik Fabrik Music Publishing (A0.534485). The work is in four movements and is scored for 2011/1000 tymp/harp/celesta/strings and lasts aproximately 17 minutes. The work is more in the style of a concerto grosso than that of a virtuosic concerto, with the guitars frequently used in a solo group with the harp and celesta, which adds a very interesting orchestral colour. The writing is varied, ranging from a medieval cantilène style in the slow movement to free atonal sections in the second Scherzo movement and in the first movement. The work ends in a movement which sounds influenced by South American Popular music. Inspite of this apparent stylistic disparity, the composition remains extremely coherent and shows a great deal of energy and a kind of poetic strangeness. This is the reduction for two guitars and piano. The orchestral score is available for sale. The parts are on rental from the publisher
$38.95
Germaine Tailleferre: Concerto for two guitars and orchestra, score only
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Germaine Tailleferre
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Germaine Tailleferre: Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.534697 Composed by Germaine Tailleferre. 20th Century. Score and parts. 63 pages. Musik Fabrik Music Publishing #6...
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Chamber Orchestra - Level 5 - SKU: A0.534697 Composed by Germaine Tailleferre. 20th Century. Score and parts. 63 pages. Musik Fabrik Music Publishing #6245161. Published by Musik Fabrik Music Publishing (A0.534697). This Concerto, composed in the 60s for the French Radio, was never performed and it was rumoured that Tailleferre, always trusting with her performers, had given the score to a visiting Guitarist from South America in the hopes that it would be performed there. Tailleferre personally considered this work to be on of her strongest and regretted that it was never performed during her lifetime. Her description of the work motivated several musicologists and guitarists to spend many hours searching for the work in music archives and libraries. The missing score was finally located during the Fall of 2003. A musician visiting the French Radio was intrigued however by a new addition to the catalogue and it was quickly confirmed that this was indeed the missing manuscript that so manmusicologists and guitarists had been looking for all of these years. The work is in four movements and is scored for 2011/1000 tymp/harp/celesta/strings and lasts aproximately 17 minutes. The work is more in the style of a concerto grosso than that of a virtuosic concerto, with the guitars frequently used in a solo group with the harp and celesta, which adds a very interesting orchestral colour. The writing is varied, ranging from a medieval cantilène style in the slow movement to free atonal sections in the second Scherzo movement and in the first movement. The work ends in a movement which sounds influenced by South American Popular music. Inspite of this apparent stylistic disparity, the composition remains extremely coherent and shows a great deal of energy and a kind of poetic strangeness. This item is the full score. The parts are on rental from the publisher. A piano reduction and the solo parts are available for sale.
$46.95
Divinum Mysterium
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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12th Century Plainchant
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Robert Myers
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Oboe 1,2
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Divinum Mysterium
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score ...
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Full Orchestra - Level 4 - SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score and parts. 76 pages. WheatMyer Music #4798079. Published by WheatMyer Music (A0.976721). DIVINUM MYSTERIUM is a chant tune dating to the 12th century which is associated with the hymn, Of the Father's Love Begotten, based on the Latin hymn, Corde natus ex parentis, written by Prudentius in the late 4th / early 5th century. This is thus one of the very oldest texts and tunes still sung in our churches today. The shape and flow of this arrangement, which includes quotations from CANTIQUE de NOEL (O Holy Night) – Adolphe Adam (1844), was strongly influenced by what one writer described as the strong wave shapes of the tune. I’ve attempted to make these waves a significant feature of the piece, featured in both the constant crescendo/decrescendos and the interweaving of the two tunes. And, just as ocean waves don’t arrive in steady rhythms, these musical waves are variable – sometimes closely spaced, sometimes not, and sometimes overlapping. The unique character of each of the three major sections is implied in their headings: (1) with mystery and wonder, (2) Joyfully – a child is born, and (3) contemplative – God is with us. The opening section portrays the mystery of the trinity (the hymn text was written as an apology for the Nicene Creed) mixed with the wonder of the Creator God lying in a manger. Since the tune is derived from medieval chant, I wanted this section to reflect the loose metrical nature of that genre, so the melodic phrasing should predominate over any sense of meter up to letter C. The initial tonal and metrical ambiguity and the fractured melodic lines gradually meld into conventional tonality and clear statements of the two main themes. Don’t let the poco rit. just before C be too poco. Build a definite sense of tension in anticipation of the Presto section. The Presto section presents the first complete statement of the main theme. I felt a strong, rhythmic treatment should follow the ambiguity of the opening to reflect the joy of the Messiah’s incarnation realized. However, the gravity of the text demands avoidance of frivolity and banality. Thus, I used a combination of the long, flowing lines with a syncopated pulse and echoing rhythms to produce what I hope is a fresh but still reverent treatment of this ancient hymn – one that produces a kaleidoscope of tonal color. Arriving at the third section at letter F, the asymmetrical pulse gradually shifts into a straight 3 pattern. The slower tempo and return of the secondary theme call us to reflect on the import of God now with us. The marking of Let off the gas and coast to the end is a word picture of how the tempo should draw to a close, as would an expert helmsman allow the ship’s momentum to stop just as it taps the dock. One parting moment is provided to savor the woodwinds closing phrase from CANTIQUE de NOEL. Robert Myers S.D.G. INSTRUMENTATION Fl 1,2; Oboe 1,2; Bb Cl 1,2 ; Bsn 1,2 Hn in F 1/2, 3/4; C Tpt 1,2 (Opt Bb Tpt 1,2); Tbn 1, 2; Tuba Timpani Perc. 1 (cymbals, tam-tam, vibraphone) Perc. 2 (chimes, snare) Perc. 3 (concert toms (4), bass drum) Vln 1,2; Vla 1,2; VC; DB
$75.00
Carson Cooman: Piano Concerto (2005) for solo piano and strings, score only
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Carson Cooman
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Carson Cooman: Piano Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533630 Composed by Carson Cooman. Classical,Contemporary. Score and parts. 31 pages. Musik Fabrik Music Publishing...
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Chamber Orchestra - Level 5 - SKU: A0.533630 Composed by Carson Cooman. Classical,Contemporary. Score and parts. 31 pages. Musik Fabrik Music Publishing #3033833. Published by Musik Fabrik Music Publishing (A0.533630). Piano Concerto (2005) for solo piano and strings was commissioned by Nathaniel Blume andSymphonic Underground. The work was written in celebration of the Mozart Year 2006.Unlike most recent piano concerti, this work is a concerto designed for small performingforces. It sits between typical chamber music and the typical piano concerto.The work was inspired by the various Mozart concerti (such as K. 449) which are oftenperformed with very small string sections. Thus, this concerto may be performed with as fewas single strings on each part, or a larger full string orchestraThe work is cast in one movement, containing two large sections (sub-movements).Structurally, the piece is a highly condensed version of Classical period symphonic form.The first section of the work is an exposition-development/sonata allegro combined with aslow movement. The second section is a combination of a triple-meter scherzo and a rondofinale.The musical material throughout derives tonally from the three notes of a D-major triad (D,F#, and A). Those three pitches serve as transformation centers for the work's material andalso plot the tonal areas of each section. The musical material of the work thus ranges fromhighly Classical melodies (although all original) and textures to more Romantic andmodernist elements that transform out of the initial material.
$25.95
Carson Cooman: Piano Concerto (2005) for solo piano and strings, score and parts
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Carson Cooman
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Carson Cooman: Piano Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533631 Composed by Carson Cooman. Classical,Contemporary. Score and parts. 65 pages. Musik Fabrik Music Publishing...
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Chamber Orchestra - Level 5 - SKU: A0.533631 Composed by Carson Cooman. Classical,Contemporary. Score and parts. 65 pages. Musik Fabrik Music Publishing #3033835. Published by Musik Fabrik Music Publishing (A0.533631). Piano Concerto (2005) for solo piano and strings was commissioned by Nathaniel Blume andSymphonic Underground. The work was written in celebration of the Mozart Year 2006.Unlike most recent piano concerti, this work is a concerto designed for small performingforces. It sits between typical chamber music and the typical piano concerto.The work was inspired by the various Mozart concerti (such as K. 449) which are oftenperformed with very small string sections. Thus, this concerto may be performed with as fewas single strings on each part, or a larger full string orchestraThe work is cast in one movement, containing two large sections (sub-movements).Structurally, the piece is a highly condensed version of Classical period symphonic form.The first section of the work is an exposition-development/sonata allegro combined with aslow movement. The second section is a combination of a triple-meter scherzo and a rondofinale.The musical material throughout derives tonally from the three notes of a D-major triad (D,F#, and A). Those three pitches serve as transformation centers for the work's material andalso plot the tonal areas of each section. The musical material of the work thus ranges fromhighly Classical melodies (although all original) and textures to more Romantic andmodernist elements that transform out of the initial material.
$64.95
Dawn to Dusk
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Contemporain
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Filipe Leitao
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Dawn to Dusk
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filipeleitao.com
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Instrumental Duet,Oboe - Level 4 - SKU: A0.982857 Composed by Filipe Leitao. 20th Century,Contemporary. Score and parts...
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Instrumental Duet Alto Saxophone,Instrumental Duet,Oboe - Level 4 - SKU: A0.982857 Composed by Filipe Leitao. 20th Century,Contemporary. Score and parts. 4 pages. Filipeleitao.com #6119047. Published by filipeleitao.com (A0.982857). A duo for oboe and alto saxophone inspired and influenced by the compositions of Claude Debussy, featuring fluid tonal centers, liquid rhythms, and exotic scales. Since it was written for two melodic instruments, it mainly incorporates Debussy’s use of tone color, melodic construction, and writing style to evoke a sense of incompletion through fragmented ideas and harmonic movements that attenuate the sense of tonality, leaving to the listener a dreamlike atmosphere. The piece essentially features three sections, being the first and the last sections more lyrical, featuring a fluid rhythm, and the middle one more energetic. Recording available: Apple Music: http://www.bit.ly/dawntoduskapple Spotify: http://www.bit.ly/dawntoduskspotify Amazon: http://www.bit.ly/dawntoduskamazon Deezer: http://www.bit.ly/dawntoduskdeezer
$24.99
"Grande Rag Brillante" for piano Op. 15
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Piano seul
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Gary Noland
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"Grande Rag Brillante&quo
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Freeland Publications
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SheetMusicPlus
Piano - SKU: A0.1069664 Composed by Gary Noland. 20th Century,Concert,Contemporary,Ragtime. Full Performance. Duration 892. Freeland Publications #32382...
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Piano - SKU: A0.1069664 Composed by Gary Noland. 20th Century,Concert,Contemporary,Ragtime. Full Performance. Duration 892. Freeland Publications #3238281. Published by Freeland Publications (A0.1069664). Duration: 14'52 (1989). Computer-driven Yamaha Disklavier performance. One of my more famous pieces. Its historic premiere at Pacifica Radio (KPFA) in Berkeley on 4 October, 1991 to inaugurate their new facility is included in Nicolas Slonimsky's book Music Since 1900. It has been reviewed and written about extensively. Here is what some reviewers have said:4 OCTOBER 1991: KPFA radio in Berkeley, California, dedicates its newly constructed, two-story broadcast facility at 1929 Martin Luther King Jr. Way with a live satellite broadcast … works on the inaugual program, produced and narrated by KPFA Music director Charles Amirkhanian, included … Grande Rag Brilliant [sic] by Gary NOLAND, a 15-minute rag introducing KPFA’s new Yamaha Disklavier grand piano, featuring fugues, frozen grace-notes to produce tone clusters, and a lengthy passage in which the music modulates up and down a half-tone each measure (the turntable change of speed effect) …-Nicolas Slonimsky, Music Since 1900 ...remarkable stuff...-Max Morath, ragtime composer and pianist … smashing and extremely difficult piano rag, … which is not distracted by the modulation-per-minute insanity of this beautiful and disorienting music … an exceedingly difficult composition by Berkeley composer Gary Noland, … the Grande Rag Brillante, Op. 15, was written in a modified turn-of-the-Century style and has never been performed successfully by a human pianist. It features something Mr. Noland calls the 'record-player-turntable-change-of-speed-effect.' In certain sections, each successive measure modulates up a half step into the next key signature, providing a mind-bending spiraling of focus which is truly breathtaking … spectacular… -Charles Amirkhanian, Folio (KPFA program guide) ...The Impossible Rag...-Oakland Tribune ...perfectly simulates a piano roll mistracking and continually changing keys...-Dick Zimmerman, Rag Times ...masterpiece!...We recommend Mr. Noland's music for anybody who desires the witty and unexpected approach to the Ragtime idiom.-L. Douglas Henderson, ARTCRAFT Studio Newsletter, Wiscasset, Maine ...Ihre Musik ist wunderschön, Grande Rag Brillante ist ein Meisterwerk; als auch Komponist bin ich voll Neid, dass ich so etwas nicht schreiben kann. Ich wünsche Ihnen viel Erfolg! Ich komponiere schon viele Jahre europäisch tonal und es itst nicht leicht, so zu komponieren in einer Welt, die noch in der atonalen Ideologie denkt. Ich hoffe, Ihr Weg wird leichter....-Ladislav Kupkovic, Czech-born composer residing in Germany Sort of like it ... electronicized ... ; then it becomes a real period piece, like Richard Taruskin’s theory about current HIP practitioners ...-William Bolcom, Pulitzer prize winning composer. ...Gary Noland's music is complex, technically daunting stuff....'Grande Rag Brillante'... seems to be meant as an excercise in psychedelic ragtime piano, full of extremely fast passages, confusing modulations, and bizzare dissonance....-Butch Thompson, The Mississippi Rag ...KPFA Music Director Charles Amirkhanian plans to use the new Disklavier.
$1.99
Paul Wehage: Four Sketches for Bb clarinet and bass clarinet
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2 Clarinettes (duo)
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INTERMÉDIAIRE
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Paul Wehage
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Paul Wehage: Four Sketches for
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Musik Fabrik Music Publishing
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SheetMusicPlus
Clarinet Duet Clarinet - Level 3 - SKU: A0.534673 Composed by Paul Wehage. Contemporary,Standards. 2 scores. 21 pages. Musik Fabrik Music Publishing #61...
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Clarinet Duet Clarinet - Level 3 - SKU: A0.534673 Composed by Paul Wehage. Contemporary,Standards. 2 scores. 21 pages. Musik Fabrik Music Publishing #6132005. Published by Musik Fabrik Music Publishing (A0.534673). Four Sketches for Bb clarinet and bass clarinet is written in a contrapunctal, extended-tonal style and is in four movements The first movement, Invention, uses canonic writing and imitative couterpoint. Valse Lente, is a slowly expressive waltz with the two instruments presenting the melody in the different sections. Berceuse begins as a soft cradlesong, but gradually the music becomes more expansive before returning to the first theme to end the movement quietly. The final Marche is a jaunty, stylized comic march in which the theme is passed between the two instruments. Passages involving hocketing underlined byarticulation effects create rythmnic tension before the piece comes to a close. Four Sketches pour clarinet et clarinette basse est est composé dans un style contrepunctal avec une vocabulaire harmonique tonale. Elle est en quatre mouvements La première mouvement, Invention, utilise une écriture canonique e imitative. Valse Lente, est une mélopée expressive avec le chant qui passe entre les deux parties. Berceuse commence dans une manière typique du genre, mais peu à peu, les éléments plus expansives sont présentées. La pièce finit par un retour du thème berçant du début, pour finir calmement. La Marche finale est un pas-redoublé sans prétention et plutôt comique. La juxtaposition des motives rythmiques soulignées par des effets d'articulation reviennent de plus en plus souvent pour créer une atmosphère de divertissement.
$12.95
Autumn
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Guitare
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AVANCÉ
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Andrew Howes
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Autumn
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.951455 Composed by Andrew Howes. 20th Century,Contemporary,Standards. Individual part. 2 pages. Andrew Howes #6863333. P...
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Solo Guitar - Level 5 - SKU: A0.951455 Composed by Andrew Howes. 20th Century,Contemporary,Standards. Individual part. 2 pages. Andrew Howes #6863333. Published by Andrew Howes (A0.951455). A wistful, elegiac tone-poem for the classical guitar evoking the feeling of the falling of the year with breezes, falling leaves, fading light and a storm through the use of atonality, quartal harmony and chromatic descent. The piece is in sonata form but with the sections mainly denoted by textural/thematic contrast and the use of A and E respectively as tonal reference points: the rhythm is to be treated fairly freely with plenty of space.
$4.00
Paul Wehage: Four Sketches for alto saxophone and baritone saxophone
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2 Saxophones (duo)
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INTERMÉDIAIRE/AVANCÉ
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Paul Wehage
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Paul Wehage: Four Sketches for
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Baritone Saxophone,Instrumental Duet - Level 4 - SKU: A0.534674 Composed by Paul Wehage. Contemporary,Standards. Score ...
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Instrumental Duet Alto Saxophone,Baritone Saxophone,Instrumental Duet - Level 4 - SKU: A0.534674 Composed by Paul Wehage. Contemporary,Standards. Score and parts. 21 pages. Musik Fabrik Music Publishing #6132007. Published by Musik Fabrik Music Publishing (A0.534674). Four Sketches is written in a contrapunctal, extended-tonal style and is in four movements The first movement, Invention, uses canonic writing and imitative couterpoint. Valse Lente, is a slowly expressive waltz with the two instruments presenting the melody in the different sections. Berceuse begins as a soft cradlesong, but gradually the music becomes more expansive before returning to the first theme to end the movement quietly. The final Marche is a jaunty, stylized comic march in which the theme is passed between the two instruments. Passages involving hocketing underlined by articulation effects create rythmnic tension before the piece comes to a close. Four Sketches est est composé dans un style contrepunctal avec une vocabulaire harmonique tonale. Elle est en quatre mouvements La première mouvement, Invention, utilise une écriture canonique e imitative. Valse Lente, est une mélopée expressive avec le chant qui passe entre les deux parties. Berceuse commence dans une manière typique du genre, mais peu à peu, les éléments plus expansives sont présentées. La pièce finit par un retour du thème berçant du début, pour finir calmement. La Marche finale est un pas-redoublé sans prétention et plutôt comique. La juxtaposition des motives rythmiques soulignées par des effets d'articulation reviennent de plus en plus souvent pour créer une atmosphère de divertissement.
$12.95
Psyche for Unaccompanied Euphonium
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Euphonium
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Shawn R
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Psyche for Unaccompanied Eupho
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Levhart
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SheetMusicPlus
Euphonium Solo - SKU: A0.1007160 Composed by Shawn R. Meloy. Contemporary,Standards. Individual part. 9 pages. Levhart #3405487. Published by Levhart (A...
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Euphonium Solo - SKU: A0.1007160 Composed by Shawn R. Meloy. Contemporary,Standards. Individual part. 9 pages. Levhart #3405487. Published by Levhart (A0.1007160). This piece has two parts, first a slow section which introduces the tonal language used throughout, followed by a fast and angular section. The ideas are based on a scale with a period of two octaves, so when playing through this scale you will not land again on the main tonic note until after two octaves. This creates some unique difficulties but the ear does grow accustomed to it after the start. It also creates larger whole tone sections throughout. Part way through the fast section it flows into a more traditional tonality form a bit, and then again toward the end. As an unaccompanied piece it has room for interpretation!
$5.99
World Brotherhood (A cappella)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Sy Brandon
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World Brotherhood
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Sy Brandon
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.755194 Composed by Sy Brandon. 20th Century,A Cappella,Concert,Contemporary. Octavo. 9 pages. Sy Brandon #341033...
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Choral Choir (SATB) - Level 4 - SKU: A0.755194 Composed by Sy Brandon. 20th Century,A Cappella,Concert,Contemporary. Octavo. 9 pages. Sy Brandon #3410331. Published by Sy Brandon (A0.755194). This work was commissioned by the Clarkston, MI High School Madrigals and is a setting of an anonymous text promoting world peace. The harmonic language is tonal with a few tonality shifts and sections of counterpoint.
$1.99
World Brotherhood (SATB and piano)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Sy Brandon
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World Brotherhood
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Sy Brandon
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.755195 Composed by Sy Brandon. 20th Century,Concert,Contemporary. Octavo. 11 pages. Sy Brandon #3410333. Publish...
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Choral Choir (SATB) - Level 4 - SKU: A0.755195 Composed by Sy Brandon. 20th Century,Concert,Contemporary. Octavo. 11 pages. Sy Brandon #3410333. Published by Sy Brandon (A0.755195). This work was commissioned by the Clarkston, MI High School Madrigals and is a setting of an anonymous text promoting world peace. A piano part that interplays with the chorus parts has been added to the SATB version. The harmonic language is tonal with a few tonality shifts and sections of counterpoint. Price includes permission to reproduce as many copies as needed for performance.
$1.99
String Quartet No. 5 From The Frieze Of Life (parts)
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Colin Bayliss
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String Quartet No. 5 From The
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Colin Bayliss
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.938388 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 29 pages. Colin Bayliss ...
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String Quartet String Quartet - Level 4 - SKU: A0.938388 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 29 pages. Colin Bayliss #6141. Published by Colin Bayliss (A0.938388). This work was written in 1999 for an international competition for quartets reflecting in music the visions in three of Edvard Munch's paintings. It is dedicated to the composer's wife, Rayna. 1. The Scream - Moderato - There are 51 versions of The Scream and the movement is in 51 sections grouped roughly into sonata form. The development is largely textural, and the movement hinges about a chord formed of open fifths a major third apart which will also re-appear in the other movements to give the quartet its sense of unity. The screaming is both audible and silent, and the footsteps on the bridge are portrayed both in a sense of passing by and also of running away. 2. Melancholy - Andante - Munch gave other titles to this painting, namely Jappe by the Shore and Jealousy . As jealousy and melancholy are retrospective emotions, tonal and modal music is employed, using the Norwegian folk song Millom bakkar og berg ut met havet set in a minor key for the first section. The A-B-A form then partially loses tonality for Jealousy, while returning to it for Melancholy itself. 3. The Dance of Life - Allegro - This movement is in rondo form, with hints of Norwegian country dances for the dancers in the painting. The two women are portrayed as one looking nostalgically to the light-heartedness of the old waltz and the other brooding on the darkness and latent sexuality of the new tango, the melodies for both of which are also corruptions of the country dances. The Munch chord alters the perspective on the scene as the movement progresses and eventually dissolves at the end as though the onlooker is passing on to another, equally unresolved future. The Score and Parts are available on this site as separate downloads The sound sample is the second movement - performed by the Lochrian Ensemble The complete 6 string quartets performed by the Lochrian Ensemble are available on itunes: see: http://www.dwsolo.com/colinbayliss/.
$10.00
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