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Small Suite
Sheetmusic to print
1,103 sheet music found
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PEQUENA SUITE - A Small Suite for Soprano Recorder and Piano
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Descent (Soprano) Recorder, Piano
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INTERMEDIATE
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Orlan Charles
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PEQUENA SUITE - A Small Suite
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ORLAN CHARLES MARCHIORI PRADO
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SheetMusicPlus
Piano,Recorder Solo,Soprano Recorder - Level 3 - Digital Download SKU: A0.814587 Composed by Orlan Charles. 20th Century,Baroque,Concert,Contemporary,Sta...
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Piano,Recorder Solo,Soprano Recorder - Level 3 - Digital Download SKU: A0.814587 Composed by Orlan Charles. 20th Century,Baroque,Concert,Contemporary,Standards. Individual part. 14 pages. ORLAN CHARLES MARCHIORI PRADO #3382105. Published by ORLAN CHARLES MARCHIORI PRADO (A0.814587). PEQUENA SUITE - A Small Suite for Soprano Recorder and Piano, a fusion between baroque and modern. This suit has 6 small movements: March, Divertimento, Waltz, Pavane, Bourrée and Gigue.Duration: aprox 6 minutes and 20 seconds.I played this score in this video: https://www.youtube.com/watch?v=O0TOkdsyKXE If you want to see other arrangements like this, look for my channel, Orlan Charles on Youtube, or follow my social networks below: Email: orlandagaita@gmail.com Instagram: @orlancharles Facebook: https://www.facebook.com/orlancharlespage/
$12.99
Small Suite
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Piano solo
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INTERMEDIATE/ADVANCED
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Robert Chamberlin
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Bitonal Excursions.
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Small Suite
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Robert Chamberlin
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.917285 Composed by Robert Chamberlin. 20th Century,Contemporary,Instructional. Score. 10 pages. Robert Ch...
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Piano Solo - Level 4 - Digital Download SKU: A0.917285 Composed by Robert Chamberlin. 20th Century,Contemporary,Instructional. Score. 10 pages. Robert Chamberlin #4887923. Published by Robert Chamberlin (A0.917285). Small Suite was composed in 1970. It is a set of three etudes exploring different musical innovations introduced at the beginning of the 20th Century. The three etudes are composed for piano students at an intermediate or intermediate/advanced level. The first etude explores Bitonality or music written in two keys simultaneously. The second etude emphasizes open fifths (Quintal Harmony) along with a melody that moves in parallel 9ths. The third etude demonstrates parallel intervals...parallel fifths and parallel fourths predominantly. Mixed meter, or changing meters, is an aspect of both the first and the third etudes. The audio clip is the first movement of the suite: Bitonal Excursions.
$5.00
De mi Barrio Suite
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Roberto Adrian Auteri
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De mi Barrio Suite
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ArrangeMe
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SheetMusicPlus
Small Ensemble Cello,Flute,Guitar,Violin - Digital Download SKU: A0.1035876 Composed by Roberto Adrian Auteri. World. Score and parts. 15 pages. ArrangeM...
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Small Ensemble Cello,Flute,Guitar,Violin - Digital Download SKU: A0.1035876 Composed by Roberto Adrian Auteri. World. Score and parts. 15 pages. ArrangeMe #6433785. Published by ArrangeMe (A0.1035876). Small suite that describes landscapes of my neighborhood, La Boca, in the south of Buenos Aires.Pequeña suite que describe paisajes de mi barrio, La Boca, en el sur de Buenos Aires.
$9.00
We are a small family
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Piano solo
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INTERMEDIATE
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Tiago Videira
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We are a small family
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Tiago Videira
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.990774 Composed by Tiago Videira. 20th Century,Classical,Instructional. Score. 6 pages. Tiago Videira #29...
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Piano Solo - Level 3 - Digital Download SKU: A0.990774 Composed by Tiago Videira. 20th Century,Classical,Instructional. Score. 6 pages. Tiago Videira #2951387. Published by Tiago Videira (A0.990774). How is it like to be an only child in a small family? What if Mummy cooks amazing food, but dad is never present and granny memory is fading away?... Music has the ability to unleash new empathic experiences in any of us. My goal with this small suite was to recreate some classics through metaphors, analogy and a grain of parody. This programmatic suite has a pedagogical role since it allows the player to practice and develop technical skills required to play the canonical repertoire. Furthermore, it also invites players to be immersed into these family characters and to try to absorb and embody some of their emotional experiences which are required to best convey the meaning of the situations. As such, I expect these pieces to be suitable for the classroom, recitals or just for fun.
$5.99
Piccola Suite Opus 18 per clarinetto solo
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Piano, Vocal and Guitar
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INTERMEDIATE
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Contemporary
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J
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Piccola Suite Opus 18 per clar
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J. C. Dovicchi
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893582 Composed by J. C. Dovicchi. Contemporary. Score. 3 pages. J. C. Dovicchi #499878. Pu...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893582 Composed by J. C. Dovicchi. Contemporary. Score. 3 pages. J. C. Dovicchi #499878. Published by J. C. Dovicchi (A0.893582). Small suite for solo clarinet.
$3.00
Suite Brève
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Contemporary
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Yves Bouillot
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Suite Brève
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Yves Bouillot
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.931744 Composed by Yves Bouillot. Contemporary. Score and parts. 50 ...
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Large Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.931744 Composed by Yves Bouillot. Contemporary. Score and parts. 50 pages. Yves Bouillot #6167351. Published by Yves Bouillot (A0.931744). It's a small suite for Tentett (2 Fl., 2 Ob., 2 Bb Cl., 2 Bsn and 2 Hrns)
$15.00
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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IGNITE, Between the Octaves -
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Prélude from Cello Suite No. 1, - duet: instruments in Eb and Bb
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Classical
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Johann Sebastian Bach
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Paul Burnell
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Prélude from Cello Suite No.
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Paul Burnell
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SheetMusicPlus
Small Ensemble Alto Saxophone,Euphonium,Tenor Saxophone - Level 3 - Digital Download SKU: A0.835868 Composed by Johann Sebastian Bach. Arranged by Paul B...
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Small Ensemble Alto Saxophone,Euphonium,Tenor Saxophone - Level 3 - Digital Download SKU: A0.835868 Composed by Johann Sebastian Bach. Arranged by Paul Burnell. Baroque. Score and parts. 9 pages. Paul Burnell #6343385. Published by Paul Burnell (A0.835868). Prélude from Cello Suite No. 1 (Cello Suite No. 1 in G Major, BWV 1007: I. Prélude) Johann Sebastian Bach, arranged by Paul Burnell for duet - instrument in Eb, instrument in Bb.Duration 2:20Part 1 in Eb (Alto Clarinet, Alto Saxophone, Tenor Horn)Part 2 in Bb (Bass Clarinet, Tenor Saxophone, Euphonium)The arrangement may be suitable for other instruments with the same transpositions.Score shows parts transposed.The key of the original piece is transposed.Programme note:Johann Sebastian Bach wrote the six Cello Suites for unaccompanied cello probably during the period 1717–23. Each of the suites begins with a prelude. The prelude in the first suite is the best-known movement from the entire set of suites.
$1.99
Air from French Suite in C Minor, - duet: instruments in Eb and Bb
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Classical
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Johann Sebastian Bach
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Paul Burnell
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Air from French Suite in C Min
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Paul Burnell
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SheetMusicPlus
Small Ensemble Alto Saxophone,Euphonium,Tenor Saxophone - Level 4 - Digital Download SKU: A0.835867 Composed by Johann Sebastian Bach. Arranged by Paul B...
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Small Ensemble Alto Saxophone,Euphonium,Tenor Saxophone - Level 4 - Digital Download SKU: A0.835867 Composed by Johann Sebastian Bach. Arranged by Paul Burnell. Baroque. Score and parts. 6 pages. Paul Burnell #6332993. Published by Paul Burnell (A0.835867). Air from French Suite in C Minor (French Suite No. 2 in C Minor, BWV 813: IV. Air) by Johann Sebastian Bach, arranged by Paul Burnell for duet - instrument in Eb, instrument in Bb. Duration 1:30 Part 1 in Eb (Alto Clarinet, Alto Saxophone, Tenor Horn)Part 2 in Bb (Bass Clarinet, Tenor Saxophone, Euphonium)The arrangement may be suitable for other instruments with the same transpositions.Score shows parts transposed.The key of the original piece is retained. Some notes from the original composition have been omitted, dynamics added, and a ritardando and pause mark added to the final bar.Programme note:The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier between the years of 1722 and 1725. The second Suite is in the key of C minor, and the fourth movement of that Suite is titled 'Air'.
$1.99
Cello Suite No. 1 (rock remix)
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Piano solo
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INTERMEDIATE
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Classical
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Johann Sebastian Bach
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Anne Britt
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Cello Suite No. 1
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Anne Britt
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.741255 Composed by Johann Sebastian Bach. Arranged by Anne Britt. Baroque,Concert,Rock,Standards. Score. ...
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Piano Solo - Level 3 - Digital Download SKU: A0.741255 Composed by Johann Sebastian Bach. Arranged by Anne Britt. Baroque,Concert,Rock,Standards. Score. 5 pages. Anne Britt #6452537. Published by Anne Britt (A0.741255). Bach’s Cello Suites collection consists of six unaccompanied suites for cello, each with six movements. They are considered to be some of Bach’s greatest musical achievements. The prelude movement from the first suite is the most famous of the collection and has appeared in numerous TV shows and films, including House, Smallville, and The Pianist. This intermediate piano solo remix follows much of the cello part closely, with the left hand adding a driving rock beat. 5 pages. Performance time: approximately 2:15.Included in the Piano Remixes: Classics Vol. 2 intermediate songbook: https://www.sheetmusicplus.com/title/22083336Visit the publisher's website for contact info and some free sheet music downloads: https://annebrittmusic.com/
$3.99
Suite for Saxophones
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Classical
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Igor Stravinsky
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Robert Stevens
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Suite for Saxophones
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SAXpress.com
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1407778 Compo...
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Woodwind Ensemble,Woodwind Quintet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1407778 Composed by Igor Stravinsky. Arranged by Robert Stevens. 20th Century,Chamber,Classical. 36 pages. SAXpress.com #990402. Published by SAXpress.com (A0.1407778). Suite for Saxophones Igor Stravinsky (1882 – 1971) Saxophone Quintet SAATB Suite for Saxophones based on piano music of Igor Stravinsky, arranged for saxophone quintet SAATB. Between 1915 and 1917, as an amusement for his two children, Stravinsky wrote a series of eight easy piano duets based on a variety of dance forms. Later, he orchestrated the pieces for small orchestra and arranged them into suites of four movements each. The results are outrageous, witty, and utterly charming. As always, Stravinsky outdoes himself in the inventiveness of his orchestrations, which are filled with unusual instrumental juxtapositions and surprising changes in rhythm and texture. Some of those surprising changes and textures are evident in the arrangement for saxophone quintet.The Suite for Saxophones includes the following movements:March, from Three Easy Pieces, 1915Andante, from Five Easy Pieces, 1917Balalaika, from Five Easy Pieces, 1917Galop, from Five Easy Pieces, 1917.
$22.95
Acute Suite No. 3
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Contemporary
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Paul Burnell
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Acute Suite No. 3
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Paul Burnell
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SheetMusicPlus
Small Ensemble - Level 3 - Digital Download SKU: A0.835753 Composed by Paul Burnell. Contemporary. Score and parts. 85 pages. Paul Burnell #3012355. Publ...
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Small Ensemble - Level 3 - Digital Download SKU: A0.835753 Composed by Paul Burnell. Contemporary. Score and parts. 85 pages. Paul Burnell #3012355. Published by Paul Burnell (A0.835753). Includes score and parts in various transpositions.Like many of Burnell's compositions this piece is suitable for homogeneous ensembles and also for mixed ensembles comprising atypical instrumental combinations or numbers of instruments. The instrumentation is not specified. The score shows clefs for parts 1-3 that suggest a string trio, but other instrument combinations are possible. Parts are available in a variety of transpositions and clefs. Players may change parts between movements or, where a movement or section is out of range, they may be tacet. Non-stringed instruments should interpret technique markings such as the pizzicato indications with appropriate articulation. The keyboard may be a piano, or any other keyboard instrument such as harpsichord, toy piano, electric piano etc. adapting the playing style to interpret dynamics, note durations etc. where these are otherwise not possible to achieve. If there is more than one keyboard player, then the players may alternate or double-up to emphasise the harmonic and dynamic structures. The movement titles may suggest possible instrumentations. Movement I: Engaged. Duration 2:15 approx. Movement II: Tightened. Duration 1:30 approx. Movement III: Feathered. Duration 3:45 approx. Movement III: Tamped. Duration 2:40 approx.Programme Note:The movements that comprise the three Acute Suites were composed between 2010 and 2016 and each may be performed by a range of different instruments. The use of the word 'acute' refers to the relatively high pitch of the instrumental parts. Acute Suite No. 3 is for flexibly scored ensemble in four parts . The movement titles of the third suite – 'Engaged', 'Tightened', 'Feathered' and 'Tamped' - reflect the characters of the movements.
$3.99
Acute Suite No. 1
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Contemporary
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Paul Burnell
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Acute Suite No. 1
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Paul Burnell
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SheetMusicPlus
Small Ensemble - Level 3 - Digital Download SKU: A0.835751 Composed by Paul Burnell. Contemporary. Score and parts. 132 pages. Paul Burnell #3012341. Pub...
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Small Ensemble - Level 3 - Digital Download SKU: A0.835751 Composed by Paul Burnell. Contemporary. Score and parts. 132 pages. Paul Burnell #3012341. Published by Paul Burnell (A0.835751). Includes score and parts in various transpositions. For ensemble in four parts with optional percussion, optional keyboard and optional bass.Like many of Burnell's compositions this piece is suitable for homogeneous ensembles and also for mixed ensembles comprising atypical instrumental combinations or numbers of instruments.The instrumentation is not specified. The score shows clefs for parts 1-4 as if written for a string ensemble but other instrument combinations are possible. Parts are available in a variety of transpositions and clefs. Players may change parts between movements or, where a movement or section is out of range, they may be tacet. The keyboard may be a piano, or any other keyboard instrument such as harpsichord, toy piano, electric piano etc. adapting the playing style to interpret dynamics or note durations where these are otherwise not possible to achieve. The movement titles may suggest possible instrumentations. Movement I, Highlighting. Duration 3:20 approx Movement II, Swirling. Duration is 3:30 with Dal Segno repeat, 2:00 without the repeat Movement III, Lowering. Duration 5:00 approx. Movement IV, Flickering. Duration 1:30 approx.Programme Note:The movements that comprise the three Acute Suites were composed between 2010 and 2016 and each may be performed by a range of different instruments. The use of the word 'acute' refers to the relatively high pitch of the instrumental parts. Acute Suite No. 1 is for flexibly scored ensemble in four parts with optional percussion, optional keyboard and optional bass. The movement titles of the first suite – ‘Highlighting’, ‘Swirling’, ‘Lowering’ and ‘Flickering’ - reflect the characters of the movements.
$3.99
2022 Suite for Trombone and Organ, 1. Palm Sunday: Hosanna, Loud Hosanna, by Phil Lehenbauer
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Trombone, Organ
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EASY
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Phil Lehenbauer
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Phil Lehenbauer
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2022 Suite for Trombone and Or
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Phil Lehenbauer
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SheetMusicPlus
Small Ensemble Euphonium,Organ,Tenor Saxophone,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.744764 Composed by Phil Lehenbauer. Arranged by Phil...
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Small Ensemble Euphonium,Organ,Tenor Saxophone,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.744764 Composed by Phil Lehenbauer. Arranged by Phil Lehenbauer. Christian,Concert,Easter,Sacred. Score and parts. 8 pages. Phil Lehenbauer #6735687. Published by Phil Lehenbauer (A0.744764). Another work in the series for younger and less experienced instrumentalist with organ, this is based on the Palm Sunday hymn tune Ellacombe, with one of the most popular texts being Hosanna, Loud Hosanna. Once again, the range and rhythmic demands on the trombonist are minimal, with the easy organ part being very supportive. Parts are also included for baritone (both TC and BC), trumpet, and tenor sax. There are two other movments, Easter and Lent, also available separately, or as the complete three movement suite. There are two other suites from 2020 and 2021 available as well, with two movements of each based on hymn tunes and the other movements being original works. Give that young musician a chance to shine! Videos of all three movements on the YouTube channel OrganGuyPhil.
$3.50
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 hands
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ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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INITIATE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
J.S. Bach - Six Cello Suites
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Ukulele
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INTERMEDIATE/ADVANCED
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Classical
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Johann Sebastian Bach
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James Saunders
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J.S. Bach - Six Cello Suites
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Saunders Music
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SheetMusicPlus
Instrumental Solo,Ukulele - Level 4 - Digital Download SKU: A0.1349574 Composed by Johann Sebastian Bach. Arranged by James Saunders. Baroque,Classical,E...
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Instrumental Solo,Ukulele - Level 4 - Digital Download SKU: A0.1349574 Composed by Johann Sebastian Bach. Arranged by James Saunders. Baroque,Classical,Early Music. Individual part. 85 pages. Saunders Music #934334. Published by Saunders Music (A0.1349574). Transcription of all six of J.S. Bach's cello suites BWV 1007-1012 for ukulele (gCEA tuning) from the urtext. All pitches are maintained from the original but there are some octave transposition, changes to the contour of the line (such as with the shape of arpeggios) or revoicing chords to fit the ukulele's smaller range. The transcriptions avoid a lot of campanella playing to maintain a clearer sense of line, especially in the runs. Open strings are mostly used to facilitate position changes, and as pedals. Some of the chords use higher pitches on the fourth string to complete the harmony where necessary. Where this happens, the melodic line is normally on the first or second string to give it extra weight or emphasis if the chord is rolled. Suite No.4 has been transposed from E flat major to G major and No.6 from D major to G major, in both cases to avoid some of the problems with register, and to enable greater use of open string pedals. The other suites are in their original keys.
$15.99
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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THREAD, Between the Octaves A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Contemporary
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Suite for Solo Bassoon in G minor
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Bassoon
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Classical
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Mitch Boucher
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Suite for Solo Bassoon in G mi
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Mitch Boucher
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SheetMusicPlus
Bassoon Solo - Digital Download SKU: A0.990348 Composed by Mitch Boucher. Baroque. Individual part. 3 pages. Mitch Boucher #3490505. Published by Mitch B...
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Bassoon Solo - Digital Download SKU: A0.990348 Composed by Mitch Boucher. Baroque. Individual part. 3 pages. Mitch Boucher #3490505. Published by Mitch Boucher (A0.990348). This is a suite for solo bassoon, and while it contains a smaller number of movements than most suites, it is still quite long and complex.
$5.50
The Tranquilizer Suite
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Jazz
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Horace Silver
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George Kaplan
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The Tranquilizer Suite
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George Kaplan
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SheetMusicPlus
Small Ensemble Bass Clarinet,Piano and Keyboard - Level 3 - Interactive Download SKU: A0.1081189 Composed by Horace Silver. Arranged by George Kaplan. Th...
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Small Ensemble Bass Clarinet,Piano and Keyboard - Level 3 - Interactive Download SKU: A0.1081189 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interactive Download. Jazz. Score and parts. 9 pages. Duration 66. George Kaplan #2PYV8L7ssh3q70duIpjhOc. Published by George Kaplan (A0.1081189). Key: C minor.Composed of 2 side-long suites, Silver 'n Wood features his regular touring front end of Tom Harrell on Trumpet and Bob Berg on tenor together with Ron Carter and Al Foster (both of whom didn't tour with Horace). Wade Marcus orchestrated the brass and reed overdubs according to Horace's exacting charts, doing a wonderful job. What stands out is the quality of the 8 compositions: unsurpassed. The record is long at about 48 minutes but immensely rewarding in all respects.
$9.99
The Process Of Creation Suite
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Jazz
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Horace Silver
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George Kaplan
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The Process Of Creation Suite
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George Kaplan
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SheetMusicPlus
Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081838 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interac...
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Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081838 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interactive Download. Jazz. Score and parts. 5 pages. Duration 25. George Kaplan #4Fx29LqIYqPsRCeyOfsxjs. Published by George Kaplan (A0.1081838). Key: G major.Composed of 2 side-long suites, Silver 'n Wood features his regular touring front end of Tom Harrell on Trumpet and Bob Berg on tenor together with Ron Carter and Al Foster (both of whom didn't tour with Horace). Wade Marcus orchestrated the brass and reed overdubs according to Horace's exacting charts, doing a wonderful job. What stands out is the quality of the 8 compositions: unsurpassed. The record is long at about 48 minutes but immensely rewarding in all respects.
$9.99
The Process Of Creation Suite
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Jazz
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Horace Silver
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George Kaplan
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The Process Of Creation Suite
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George Kaplan
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SheetMusicPlus
Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081858 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interac...
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Small Ensemble Bass Clarinet - Level 3 - Interactive Download SKU: A0.1081858 Composed by Horace Silver. Arranged by George Kaplan. This edition: Interactive Download. Jazz. Score and parts. 4 pages. Duration 48. George Kaplan #1iaCvuKkfEHODGgoNuqBzA. Published by George Kaplan (A0.1081858). Key: Db major.Composed of 2 side-long suites, Silver 'n Wood features his regular touring front end of Tom Harrell on Trumpet and Bob Berg on tenor together with Ron Carter and Al Foster (both of whom didn't tour with Horace). Wade Marcus orchestrated the brass and reed overdubs according to Horace's exacting charts, doing a wonderful job. What stands out is the quality of the 8 compositions: unsurpassed. The record is long at about 48 minutes but immensely rewarding in all respects.
$9.99
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