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You've selected:
An Object in Motion...
Sheetmusic to print
12 sheet music found
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1
An Object in Motion... (for solo trumpet)
Trumpet
B-Flat Trumpet Solo - Level 4 - Digital Download SKU: A0.617901 Composed by Aaron L…
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B-Flat Trumpet Solo - Level 4 - Digital Download SKU: A0.617901 Composed by Aaron Lee. 20th Century,Classical,Contemporary,Contest,Festival. Individual part. 3 pages. J. Aaron Lee #227052. Published by J. Aaron Lee (A0.617901). Written for unaccompanied trumpet, this piece (approx. 2 min in duration) explores a new take on the moto perpetuo style of composition. In An Object in Motion... the trumpet does it's best to embody the Newtonian concept of momentum, taking time and effort to both gain and lose energy. With only a few high sections, the primary challenge in this work is rhythm and would be suitable for advanced intermediate students as well as professionals. For more music from Aaron Lee, you can visit www.musicoflee.com.
$3.99
3.58 €
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Trumpet
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Aaron Lee
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An Object in Motion...
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J. Aaron Lee
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SheetMusicPlus
Surface Abrasion (in black & white) for piano
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.1000666 Composed by Nicholas Yandel…
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Piano Solo - Level 5 - Digital Download SKU: A0.1000666 Composed by Nicholas Yandell. 20th Century,Contemporary. Score. 12 pages. Nicholas Yandell Music #6324367. Published by Nicholas Yandell Music (A0.1000666). This piece explores the whole range of the piano, as well as the instrument's more percussive side in a work that's rhythmically rich, with accessible melodic material and harmonic contrasts. This is a high-concept, expressive show piece, which is perfect as a recital piece for a college student or professional and an average performance of this piece lasts just over 6 minutes. First performed (studio recording) in Scotland by Edward Cohen in August of 2020, this work explores the concept of Extant Art. The definition of Extant is: still in existence, surviving, what’s not destroyed or lost; focusing on what remains after the surface of a person, object, or idea is stripped away. Musically, this concept is expressed through breaking down melodies and harmonies to their simplest elements, exploring spacious and percussive textures, clusters and jarring contrasts, moments of shrill dissonance, and using fragmented and jagged rhythms to form the parts of a shattered whole. Ultimately, this work is about breaking down the outside emotional skin and then penetrating the depths of an individual, until left with just their extant core. It’s a thrashing musical journey of catharsis.Performing Rights Organization: ASCAPComposer's website: https://www.nicholasyandell.com
$8.99
8.06 €
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Piano solo
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Nicholas Yandell
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Surface Abrasion
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Nicholas Yandell Music
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestra
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
22.41 €
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Orchestra
#
Claude Debussy
#
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestra
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
22.41 €
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Orchestra
#
Claude Debussy
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestra
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
22.41 €
#
Orchestra
#
Claude Debussy
#
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
#
SheetMusicPlus
The Sandy Hook Lullaby
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.1028045 Composed by Nicholas McCl…
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Concert Band - Level 3 - Digital Download SKU: A0.1028045 Composed by Nicholas McClure. Contemporary. Score and parts. 11 pages. Nicholas McClure #3226621. Published by Nicholas McClure (A0.1028045). On December 14, 2012, at 9:35 a.m., the entire country stood motionless, for a horrific act of terror was underway. Adam Lanza shot and killed 20 first-graders and 6 adults, at Sandy Hook Elementary School in Newtown, Connecticut; a moment in history as one of the worst school shootings that our country has ever faced. Every single child which was murdered had a future of their own, taken away at the hands of a ruthless gunman, who in an instant, ended any chance that these 20 children had to have a happy life. Along with these children, were the 6 heroic staff members who so selflessly gave their life in order to stop this perpetrator who came to destroy the fragile object that we all call life. The title of this piece, The Sandy Hook Lullaby, is symbolic to represent the deaths and aftermath on that faithful day. This particular piece is a lullaby to represent the day that the victims lives were taken, ending with a peaceful goodbye. The song starts strong and valiant, to represent the beginning and potential of a new day. As it progresses, the song softens a bit, with clarinet lead, which represents the students learning in the classroom and the staff working as normal. A swell in volume represents the knowledge learned, as they are completely unaware of the events to follow. Halfway through, terror strikes. The percussion solo is representative of the the 5 minutes that the entire attack took place. The entire finale of the song is to represent the peaceful rest of those murdered, the final goodbye. The song ends softly, as the victims are put to rest, and because most of the victims were children, this comes in the form of a lullaby. Just as a loving and caring parent would put their child to sleep with a song, we give our final goodbyes with this Sandy Hook Lullaby. Thank you, and please enjoy with reverence and respect. -Nicholas McClure, Composer.
$30.00
26.89 €
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Concert band
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Nicholas McClure
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The Sandy Hook Lullaby
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Nicholas McClure
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SheetMusicPlus
Circus Dances
Piano solo
Piano - advanced - Digital Download SKU: S9.Q19074 Suite for Piano. Composed…
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Piano - advanced - Digital Download SKU: S9.Q19074 Suite for Piano. Composed by Joerg Widmann. This edition: Sheet music. Downloadable. Duration 20 minutes. Schott Music - Digital #Q19074. Published by Schott Music - Digital (S9.Q19074). My dark and shadowy piano Intermezzi are followed by these Zirkustänze [circus dances]. They are naturally – on a superficial level – simpler, more cheerful, brighter and also more garish, drastic and playful than my previous composition, but my objective in these dances involving the protagonists of a circus is a simple but profound and omnipresent truth: there is a constant real danger that the tightrope walker will fall. On the subject of our childlike amazement as an observer: it is not our amazement which is false, but the fact that we adults think we are no longer allowed to feel this emotion! And although the tears of the sad clown are artificial, they are nevertheless highly realistic. The Zirkustänze are conceived as a cycle, but individual movements can also be performed separately, for example as encore pieces. These dances are dedicated in friendship to András Schiff. Jörg Widmann.
$29.99
26.88 €
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Piano solo
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Joerg Widmann
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Circus Dances
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Schott Music - Digital
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SheetMusicPlus
Interstellar
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.912635 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 4 - Digital Download SKU: A0.912635 Composed by Johnson Lee. Contemporary,World. 35 pages. Johnson lee #2897207. Published by johnson lee (A0.912635). https://youtu.be/0hVSzb1pUP0INTERSTELLAR First movement - Astronomical Space Synopsis Astronomical Space is the void that exists between celestial bodies. However, the space is not completely empty, between, the vacuum consists of electromagnetic radiation, magnetic fields and dust and cosmic rays. Within this space, planets and moon freely orbits in their path. An unseen force is behind the organized path and movement of these planets in the galaxy. This movement uses different aspects of palindrome concept to depict the organised space in music. First, the time signature expands and contracts in palindromic fashion, indicating an orderly manner in which the music orbits. Next, the intervals expands exponentially and also contracts in retrograde fashion. Analysis This movement uses palindrome concept for compositional technique. Rhythmically, it is palindromic in nature. The note values starts from a minim to dotted crotchet, crotchet, quaver, semiquavers. The time signature also expands and contract palandromically, starting from 2/4, 3/4 , 4/4, 5/4, 6/4, 5/4, 4/4, 3/4, 2/4. The intervallic relationships are also in palindrome. Ascending from middle C the interval starts with Minor 2nd and expands exponentially to Major 2nd, Minor 3rd , Major 3rd, Perfect 4th , Augmented 4th , Perfect 5th to the tonic. Conversely, the intervals descend in similar fashion. French Horn begins with Low G (Concert C) and builds up this set of intervals reaching high B (Concert E). This melody is repeated by the Clarinet at the start of the new time signature of 3/ 4. Oboe enters at the next time signature of 4 /4. Flute at time signature of 5/4 and Bassoon at time signature of 6/4. The retrograde inversion of this motif is announced by the French Horn, this time starting on its high G (Concert C). Behind all this build up, the intervallic motif as shown above is played. At section A, this motif is announced without the rhythmic palindrome. The motif and its inversion builds up to a climax and re-asserts its presence with all the instruments playing at Bar before rehearsal mark B. The piece ends with the French horn performing the same motif at the beginning of this movement. Second Movement - Celestial Bodies Synopsis Celestial bodies or Astronomical objects refers to a single cohesive structure that is bound together usually by gravity or electromagnetism. Some examples includes asteroids, moons, planets and the stars. These objects or bodies may range from a single planet to star clusters, nebulae or entire galaxies and they have their position in space. This movement uses whole tone scale. The whole tone scale is used in this movement as it does not create sharp dissonances and the space between each interval is equal whichever way you stack the notes. The main melody, 8 bars long is repeated in canonic fashion. A countermelody is announced and also repeated by the ensemble in canonic fashion. Thereafter, both melodies will merge and this movement ends with a chord consisting of the whole tone scale starting on B. The music gradually unveils the each axis of the motion in which the astronomi.
$5.00
4.48 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Johnson Lee
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Interstellar
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johnson lee
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SheetMusicPlus
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by…
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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
17.93 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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INITIATE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
Three Etudes
Piano solo
Piano - difficult - Digital Download SKU: S9.Q582538 For piano. Composed by …
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Piano - difficult - Digital Download SKU: S9.Q582538 For piano. Composed by Daniel Kidane. Etudes - painting - art - painting. Downloadable. Duration 8'. Schott Music - Digital #Q582538. Published by Schott Music - Digital (S9.Q582538). The initial stimulus for this set of pieces was a painting by Kandinsky, Composition VII (1913). The painting represents a period when he was concerned with emotional, abstract paintings of two sorts: (a) improvisations (â??unconscious, spontaneous expression of inner character, the non-material natureâ?? that contain no recognizable objects, but coloured shapes that express feelings) and (b) compositions (â??an expression of a slowly formed inner feeling, tested and worked over repeatedlyâ?? that include recognizable objects, but ones that have been â??strippedâ?? and â??veiledâ??). Taking the latter idea as a starting point I began to mould and form a tripartite piece which conveyed the energy and colour from canvas to notes. The movement titles are derived from the number of notes in the note rows for each movement, i.e. Etude Four uses a note row made up of four notes. © Daniel Kidane, 2023.
$6.99
6.27 €
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Piano solo
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Daniel Kidane
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Three Etudes
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Schott Music - Digital
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SheetMusicPlus
Portals
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1241388
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1241388 Composed by Alan Silvestri. Arranged by Wesley Dantas. Chamber,Contemporary,Film/TV,Pop,Video Game. 10 pages. Wesley Dantas #836750. Published by Wesley Dantas (A0.1241388). English:Arranger Wesley Dantas has created a remarkable adaptation of the song Portals from the film Avengers: Endgame, composed by Alan Silvestri, specifically tailored for an advanced-level brass quintet. The objective is to enhance the repertoire for this instrumental ensemble, providing an elevated musical experience.With mastery and sensitivity, Dantas has translated the grandeur and emotion of the original composition into a captivating interpretation for the brass quintet. Through the combination of distinct timbres from brass instruments such as trumpet, French horn, trombone and tuba, each melodic and harmonic part is carefully assigned, resulting in a rich and balanced sound.The technical and expressive complexity of this version demands skill and proficiency from the musicians, making it suitable for high-level performers. The arrangement highlights the nuances of the original composition, exploring the sonic possibilities and individual characteristics of each instrument, offering the audience a fresh perspective on this iconic piece.Through this exquisite adaptation, Wesley Dantas demonstrates his talent as an arranger, enriching the repertoire available for advanced-level brass quintets and providing a gratifying musical experience for both musicians and enthusiasts of this instrumental ensemble.Portuguese: O arranjador Wesley Dantas desenvolveu uma notável adaptação da música Portals do filme Vingadores: Ultimato, composta por Alan Silvestri, especialmente concebida para um quinteto de metais de nÃvel avançado. Esse arranjo busca amplificar o repertório dessa formação instrumental, proporcionando uma experiência musical enriquecedora.Com maestria e sensibilidade, Dantas traduziu a grandiosidade e emoção da composição original em uma interpretação cativante para o quinteto de metais. Através da combinação dos timbres distintos dos instrumentos de metal, como trompete, trompa, trombone e tuba, cada parte melódica e harmônica é cuidadosamente atribuÃda, resultando em uma sonoridade rica e equilibrada.A complexidade técnica e expressiva dessa versão requer habilidade e domÃnio dos instrumentistas, sendo indicada para músicos de alto nÃvel. O arranjo valoriza as nuances da composição original, explorando as possibilidades sonoras e as caracterÃsticas individuais de cada instrumento, proporcionando ao público uma nova perspectiva dessa obra icônica.Com essa adaptação primorosa, Wesley Dantas demonstra seu talento como arranjador, enriquecendo o repertório disponÃvel para quintetos de metais de nÃvel avançado e proporcionando uma experiência musical gratificante para os músicos e apreciadores dessa formação instrumental.
$20.00
17.93 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Alan Silvestri
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Portals
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Wesley Dantas
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SheetMusicPlus
The Guitar Études
Guitar
Composed by Apostolos Paraskevas (1964-). Contemporary Classical, Modern, Etudes and…
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Composed by Apostolos Paraskevas (1964-). Contemporary Classical, Modern, Etudes and Exercises, Repertoire, World. Score. 37 pages. Published by Silver Sickle Publications
Études for Solo Guitar<br> The subject of creating an educational aid for guitar students of an intermediate level that will serve also as a similar aid for theory and composition students fascinates me and motivates my compositional thought for quite a while. The objective was to create miniature complete works for the guitar, as J. S. Bach did with his fifteen inventions, in the “manner” of an Étude that deals with specific aspects of guitar techniques and musicianship in general.<br> <br> <br> These Études are gradually graded based on their difficulty and style. They cover all the positions of the guitar and explore known and some unfamiliar techniques for the contemporary guitarist.<br> I used a compositional language more familiar for the level of the intermediate guitarist but without sacrificing my original compositional voice so these pieces could be used as concert works by the advanced musicians as well. My intention is to educate students in a multilevel study environment and to be able to promote the music of our time. During my teaching years I found that students become better musicians when they have been taught to adapt certain performance difficulties and compositional techniques at an earlier level of their training.<br> Titles:<br> <br> 1 with false optimism<br> <br> 2 with moderate sadness<br> <br> 3 with just the two of you<br> <br> 4 with a touch of impatience<br> <br> 5 with a touch of grandeur<br> <br> 6 with a counterpoint attitude<br> <br> 7 with a touch of shame<br> <br> 8 with a touch of boredom<br> <br> 9 going and never coming back<br> <br> 10 with a peaceful anger<br> <br> 11 without the heavy ones<br> <br> 12 without hope<br> <br> 13 without sense of humor<br> <br> 14 with a masculine attitude<br> <br> 15 with two little bears in mind<br> <br> 16 without hesitation<br> <br> 17 with shameless vibrato<br> <br> 18 with a touch of distress<br> <br> 19 without fear of failure<br> <br> 20 with this and that<br> <br> 21 with a kind motion<br> <br> 22 with a rondo attitude<br> <br> 23 with suspense<br> <br> 24 with everything you may have
$22.00
19.72 €
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Guitar
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Apostolos Paraskevas
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The Guitar Études
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Silver Sickle Publications
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SheetMusicPlus
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