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Hues of Blue: Score
Piano solo
Sheetmusic to print
4 sheet music found
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1
Icicles of Spring
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1373867 Composed by Gareth Jones. 2…
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Piano Solo - Level 3 - Digital Download SKU: A0.1373867 Composed by Gareth Jones. 21st Century,Contemporary,New Age. Score. 6 pages. Gareth Jones #958341. Published by Gareth Jones (A0.1373867). The sun sits elevated in the blue sky of spring, warming the pure, white snow. As it begins to melt, a few translucent icicles gradually start to drip. This continues until more thawing icicles join in, and small drips turn into steady trickles. Pools of water form, steadily migrating together and flowing across the landscape into streams. The water progresses towards undulating, cascading torrents and eventually eases into gentle rivers of slow-moving water. This piece is shaped by delicate, melodic phrasing and requires a sensitive touch to emulate the small droplets. The use of the sustain pedal will help soften the harmonies to replicate the hues of a watercolour painting.
$2.99
2.76 €
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Piano solo
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Gareth Jones
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Icicles of Spring
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Gareth Jones
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SheetMusicPlus
Peacock Colors
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1414330 Composed by Donald Ashwande…
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Piano Solo - Level 3 - Digital Download SKU: A0.1414330 Composed by Donald Ashwander. Ragtime. Score. 8 pages. The Donald Ashwander Estate #996103. Published by The Donald Ashwander Estate (A0.1414330). Donald Ashwander's Peacock Colors invites listeners into a kaleidoscopic world of sound, where the boundaries between genres blur and the palette of emotions shifts like the iridescent hues of a peacock's plumage.In June 1967, Ashwander reflects, I awoke to a wonderful rainy morning. As the coffee dripped, I was filled with the luxurious feeling of having a day completely unscheduled. A perfect day for writing a new rag - the kind of rag that had never before been written. A Blues Rag-Waltz, I thought, that's the ticket! The composition, however, would not stay darkly blue as I had intended. Purples, browns, greens and in-betweens began to creep in. When the piece was complete, it had become an Iridescent Rag-Waltz. Sitting on top of my piano was an Art Nouveau vase filled with peacock feathers.With this anecdote in mind, one can trace the genesis of Peacock Colors. There are moments of playful whimsy, where the music seems to skip and twirl like the feathers of a dancing peacock, as well as passages of introspective reflection, where the harmonies deepen and the melodies take on a more contemplative tone.Ultimately, Peacock Colors is a testament to the power of music to transcend boundaries and capture the imagination. In Donald Ashwander's hands, the piano becomes a canvas, and each note a brushstroke, painting a vivid portrait of a world where waltz and ragtime intertwine in a glorious display of color and emotion.
$5.95
5.49 €
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Piano solo
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Donald Ashwander
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Peacock Colors
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The Donald Ashwander Estate
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SheetMusicPlus
Three Chromicons for piano solo
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon For…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons
The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.<br> <br> The sound sample is the live performance.<br> <br> The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).<br> <br> Ford explains the significance of these unique scores:<br> <br> "In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."<br> <br> "By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."<br> <br> "Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."<br> <br> "Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."<br> <br> "Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."<br> <br> Video of Chromicon III<br> https://www.youtube.com/watch?v=VHMw-vzZlGE
$12.00
11.06 €
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Piano solo
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Joseph Dillon Ford
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Three Chromicons for piano solo
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David Warin Solomons
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SheetMusicPlus
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