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Germaine Tailleferre: Trois Études for two pianos
2 Pianos, 4 hands
Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.534483
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Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.
$32.95
30.26 €
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2 Pianos, 4 hands
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achieving the physical decline of the French, the
Nazis hope that spiritual collapse will ensue
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Germaine Tailleferre
#
Germaine Tailleferre: Trois Études for two pianos
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Musik Fabrik Music Publishing
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SheetMusicPlus
Popular Orchestral Excerpt Etudes For Double Bass: Expanded Ensemble Packet
Double Bass - Digital Download SKU: A0.1314900 Composed by Andrew Cody Williams and…
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Double Bass - Digital Download SKU: A0.1314900 Composed by Andrew Cody Williams and Jeff Bradetich. Classical,Instructional. Educational Exercises. 100 pages. Andrew Cody Williams #903659. Published by Andrew Cody Williams (A0.1314900). THIS IS NOT THE STANDARD PACKET. Within the Expanded Ensemble Packet, parts 3 and 4 expand on the accompaniment. While they are not needed for performance, they do fill spaces and provide more to the ensemble musically to create a trio or quartet. A score is also included“Popular Orchestral Excerpt Etudes For Double Bass†is a collection of 9 etudes written by Andrew Cody Williams and Jeff Bradetich from the pedagogical analysis of some of the most common orchestral excerpts in double bass repertoire including Beethoven Symphony 5 Scherzo and Trio, Brahms Symphony 2, Mahler Symphony 2, Mozart Symphony 40, Bach Orchestral Suite 2 Badinerie, Strauss Ein Heldenleben, Schubert Symphony 9 “Greatâ€, and Mendelssohn Symphony 4. Before you buy, try the FREE DEMO PACKET by contacting ExcerptEtudesBass@gmail.comThe focus of these excerpt etudes is as follows:Sequential Instruction- Taking a challenge one step at a time creates a manageable challenge without becoming overwhelmed. When a student meets successful attempt after successful attempt while gradually increasing difficulty, they are motivated to learn and are less likely to reinforce unwanted outcomes.Context- Practicing anything without understanding where it fits in the bigger picture is asking for failure. Accompanying parts to the etudes have been written to assist the learner through tempo consistency, performing other instrumental parts, and expanding beyond the provided excerpt.Ensemble- Performing with others improves intonation and listening, constructive teamwork, and can be a lot of fun. Four bass parts have been written for the etude in a layered accompaniment to keep the size of the ensemble flexible. Within the Standard Packet, part 1 is the etude itself, taking sections of the excerpts and practicing them in different ways to improve the original excerpt. Part 2 provides the most important accompanying music, allowing the etude to be practiced and performed with just two players. This is especially useful in private lessons, as the teacher can accompany the student as they wish. Within the Expanded Ensemble Packet, parts 3 and 4 expand on the accompaniment. While they are not needed for performance, they do fill spaces and provide more to the ensemble musically to create a trio or quartet. Other resources are provided within the excerpt etudes as well. A score is included in the Expanded Ensemble Packet with all four parts to allow easy comparison and study of each etude. The original excerpts are included in the Standard Packet as well, allowing the student to actively see where each rehearsal letter practice section derives from. An analysis of each rehearsal letter is offered defining the problem in question, as well as a practice solution and occasional extra tips. Finally, a difficulty rating sheet is provided to approximate the difficulty of each part.
$5.00
4.59 €
#
Andrew Cody Williams and Jeff Bradetich
#
Popular Orchestral Excerpt Etudes For Double Bass: Expanded Ensemble Packet
#
Andrew Cody Williams
#
SheetMusicPlus
Popular Orchestral Excerpt Etudes For Double Bass: Standard Packet
Double Bass
Double Bass - Digital Download SKU: A0.1314897 Composed by Andrew Cody Williams and…
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Double Bass - Digital Download SKU: A0.1314897 Composed by Andrew Cody Williams and Jeff Bradetich. Classical,Instructional. Educational Exercises. 61 pages. Andrew Cody Williams #903655. Published by Andrew Cody Williams (A0.1314897). â??Popular Orchestral Excerpt Etudes For Double Bassâ? is a collection of 9 etudes written by Andrew Cody Williams and Jeff Bradetich from the pedagogical analysis of some of the most common orchestral excerpts in double bass repertoire including Beethoven Symphony 5 Scherzo and Trio, Brahms Symphony 2, Mahler Symphony 2, Mozart Symphony 40, Bach Orchestral Suite 2 Badinerie, Strauss Ein Heldenleben, Schubert Symphony 9 â??Greatâ?, and Mendelssohn Symphony 4. Before you buy, try the FREE DEMO PACKET by contacting ExcerptEtudesBass@gmail.comThe focus of these excerpt etudes is as follows:Sequential Instruction- Taking a challenge one step at a time creates a manageable challenge without becoming overwhelmed. When a student meets successful attempt after successful attempt while gradually increasing difficulty, they are motivated to learn and are less likely to reinforce unwanted outcomes.Context- Practicing anything without understanding where it fits in the bigger picture is asking for failure. Accompanying parts to the etudes have been written to assist the learner through tempo consistency, performing other instrumental parts, and expanding beyond the provided excerpt.Ensemble- Performing with others improves intonation and listening, constructive teamwork, and can be a lot of fun. Four bass parts have been written for the etude in a layered accompaniment to keep the size of the ensemble flexible. Within the Standard Packet, part 1 is the etude itself, taking sections of the excerpts and practicing them in different ways to improve the original excerpt. Part 2 provides the most important accompanying music, allowing the etude to be practiced and performed with just two players. This is especially useful in private lessons, as the teacher can accompany the student as they wish. Within the Expanded Ensemble Packet, parts 3 and 4 expand on the accompaniment. While they are not needed for performance, they do fill spaces and provide more to the ensemble musically to create a trio or quartet. Other resources are provided within the excerpt etudes as well. A score is included in the Expanded Ensemble Packet with all four parts to allow easy comparison and study of each etude. The original excerpts are included in the Standard Packet as well, allowing the student to actively see where each rehearsal letter practice section derives from. An analysis of each rehearsal letter is offered defining the problem in question, as well as a practice solution and occasional extra tips. Finally, a difficulty rating sheet is provided to approximate the difficulty of each part.
$20.00
18.37 €
#
Double Bass
#
Andrew Cody Williams and Jeff Bradetich
#
Popular Orchestral Excerpt Etudes For Double Bass: Standard Packet
#
Andrew Cody Williams
#
SheetMusicPlus
Nineteen Skeletal Duets for Trombones
2 Trombones (duet)
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, …
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Individual Part, Score. 44 pages. Published by Musica Nova USA
Nineteen Skeletal Duets for Trombones is a set of duets of easy to moderately difficult specifically for teachers and students in private lessons. The first 15 duets are arranged from Fifteen Safari Duets for Tubas which was composed in 1989 for playing with my tuba students at Berklee College of Music. They are at different levels of difficulty and in various styles so that we always had duets to play no matter what was the ability of the student. The additional four duets were added in 2020 for trombones for this set. The title of each duet is also a name for a bone in the human body, hence the name Skeletal Duets. There is something in each duet for students to learn: the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. Nineteen Skeletal Duets for Euphoniums are the same duets but in treble clef. Twenty-two Skeletal Duets for Hornsuses the first 19 of the trombone set with three additional duets added. Some of the trombone and horn duets are in the same key so they can be played together.<br> <br> 1. Cranium<br> This duet presents the cantabile “singing” style as studied for playing the trombone. I find that this duet helps the student much like the melodies of Borgodni (Rochet) etudes.<br> <br> 2. Stirrup<br> This duet provides an opportunity to read basic rhythms and articulations. I find that the more advanced students can read in a faster tempo while the less skilled students work best in the slower tempos – a common choice for all of the duets.<br> 3. Humerus<br> This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase.<br> 4. Vertebra<br> This is in a “rock” style with syncopated rhythms with cantabile melodies. Articulations are especially important in this duet.<br> 5. Axis<br> Legato scales and syncopated rhythms are the features of this duet. This is a good exercise for legato playing on trombone, especially when the legato tongue is needed versus when the trombonist does not need to tongue when moving across partials.<br> 6. Tibia<br> This duet alternates in rock style and swing. Articulations and manipulation of “swing” rhythms are important.<br> 7. Clavicle<br> The key of A for this duet provides variation for the students.<br> 8. Fibula nd<br> This duet uses the easiest of rhythms and range, especially for the 2<br> 9. Scapula<br> This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many had never experienced this notation before.<br> 10. Atlas ndThis is an Invention in the Bach style. This is probably the best duet to play when the 2 part is played by bass trombone.<br> <br> (student) part.<br> <br> 11. Radius<br> This duet is in a “Medium Swing” jazz style. Each part has a chance to play a little bit of a “walking” bass line. Articulations and manipulation of “swing” rhythms are important in this duet.<br> 12. Femur<br> This duet works on double time and half time tempo changes.<br> 13. Patella<br> This is another duet that includes graphic notation. In this duet “Free rapid legato lines” are used.<br> 14. Anvil<br> This gallop displays different types of articulation.<br> 15. Hammer<br> This duet is in the style of a fanfare.<br> 16. Rib<br> This duet is a melody, “Magallon Blues”, that I originally composed when I taught at a summer music camp in Magallon, Spain. In that camp each of the students would practice playing a jazz solo. This duet also has jazz chord changes so you can add piano or guitar. The use of drums is also an added option.<br> 17. Sacrum<br> This duet is a short arrangement of Mozart’s “Eine Kleine Nachtmusic”.<br> 18. Ulna<br> This duet is a short arrangement of the traditional Irish folk song “Londonderry Air”, more commonly known as “Danny Boy”.<br> 19. Ilium<br> This duet is a short arrangement of the Beethoven’s song “Ode to Joy” which represents the triumph of universal brotherhood against war and desperation.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest for Twenty Characteristic Etudes for Tuba, an award from The American Prize for his Petite Suite for Brass Quintet and others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.<br> His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.37 €
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2 Trombones (duet)
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Gregory Fritze
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Nineteen Skeletal Duets for Trombones
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Musica Nova USA
#
SheetMusicPlus
Etude for Two
Alto Saxophone,Instrumental Duet,Trumpet - Level 5 - Digital Download SKU: A0.1280490
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Alto Saxophone,Instrumental Duet,Trumpet - Level 5 - Digital Download SKU: A0.1280490 Composed by Richard Montalto. 21st Century,Contemporary,Contest,Festival. 16 pages. Maximal Music #871898. Published by Maximal Music (A0.1280490). Etude for One is from a series of etudes for unaccompanied soloists and small ensembles. The work, for Trumpet and Alto Saxophone, is for advanced/professional performers.Performance time: 5'40.
$10.00
9.18 €
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Richard Montalto
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Etude for Two
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Maximal Music
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SheetMusicPlus
Fiddle Etude for Two
2 Violins (duet)
Violin Duet Violin - Level 3 - Digital Download SKU: A0.1013497 Composed by Comfort…
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Violin Duet Violin - Level 3 - Digital Download SKU: A0.1013497 Composed by Comfort Smith. Contemporary,Folk,Instructional. 5 pages. Comfort Smith #6449551. Published by Comfort Smith (A0.1013497). This is an original duet for two violins, with a fiddle flair. This can be used as a fun etude for double stops and intonation between two instruments.
$3.99
3.66 €
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2 Violins (duet)
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Comfort Smith
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Fiddle Etude for Two
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Comfort Smith
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SheetMusicPlus
Ten Classical Etudes for Classical Guitar
Guitar notes and tablatures
Guitar, Guitar Tab - Intermediate - Digital Download Composed by Sor, Carcassi, and…
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Guitar, Guitar Tab - Intermediate - Digital Download Composed by Sor, Carcassi, and Giuliani. Arranged by Bradford Werner. Classical Period. Score, Tablature. 40 pages. Published by This is Classical Guitar
Ten Classical Etudes by Sor, Carcassi, & Giuliani - For intermediate classical guitar with fingerings, tips, and video Lessons. Comes with two editions: Notation & Notation + TAB. PDF Download (40 pages). Edited and Fingered by Bradford Werner. The level is intermediate (approx. RCM Grade 4-7).<br> <br> The etudes have been arranged in a progressive order from easier to more difficult. The first and last etude emphasize the importance of using etudes to develop a musical technique. I have tested all these etudes with my students and found them to be very beneficial for learning musical and technical concepts.
$9.99
9.17 €
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Guitar notes and tablatures
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Sor, Carcassi, and Giuliani
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Ten Classical Etudes for Classical Guitar
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This is Classical Guitar
#
SheetMusicPlus
G Major Etude for Two
2 Violins (duet)
Violin Duet Violin - Level 3 - Digital Download SKU: A0.1221612 Composed by Darian …
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Violin Duet Violin - Level 3 - Digital Download SKU: A0.1221612 Composed by Darian Thompkins. Instructional,Multicultural,Standards,World. 4 pages. Darian Thompkins #817919. Published by Darian Thompkins (A0.1221612). G major Etude for Two can easily be a regular duet, however, it was written to help improve technique, crossing the strings, and bowing. As you play through this piece you will become more familiar with the G Major scale. Although this piece is for two it can also be used for just individual practice while playing individual lines for proficiency. Lets keep those scales moving!.
$2.99
2.75 €
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2 Violins (duet)
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Darian Thompkins
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G Major Etude for Two
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Darian Thompkins
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SheetMusicPlus
Etude No. 3 (op. 10, no. 3)
2 Flutes (duet)
Flute Duet Alto Flute - Level 4 - Digital Download SKU: A0.1288041 Composed by Fred…
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Flute Duet Alto Flute - Level 4 - Digital Download SKU: A0.1288041 Composed by Frederic Chopin. Arranged by Toby A. Loftus. 19th Century,Classical,Romantic Period. Score. 9 pages. Toby Loftus #879079. Published by Toby Loftus (A0.1288041). I have arranged Chopin's solo piano etude for two flutes. Originally intended for two Alto Flutes, this work can be played on two C Flutes, or a C Flute and an Alto Flute.The opening theme is sweet and simple. It becomes more dramatic and tumultuous in the middle section resolving back to it's sweet, yet melancholic theme at the end.
$8.00
7.35 €
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2 Flutes (duet)
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Frederic Chopin
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Etude No. 3
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Toby Loftus
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SheetMusicPlus
Three Pieces for Tuba Ensemble - Salutation Fanfare, Simple Gifts, Octubafest Polka
Small Ensemble Euphonium,Horn,Tuba - Level 2 - Digital Download SKU: A0.917404 Comp…
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Small Ensemble Euphonium,Horn,Tuba - Level 2 - Digital Download SKU: A0.917404 Composed by Gregory Fritze. 20th Century,Concert,Standards. Score and parts. 61 pages. Musica Nova USA #4984119. Published by Musica Nova USA (A0.917404). Three Pieces for Tuba Ensemble is a collection of three pieces that were composed at different times for different occasions. This set makes up a good suite for concert performance. Although listed as a tuba ensemble compositions, euphoniums usually play the higher two parts. All three are written in five parts. Optional substitute parts for French Horn and Flüglehorn are also included in this set, as well as euphonium parts in treble clef.Salutation Fanfarewas composed in 1985 for performance at the New York Brass Conference at the Roosevelt Hotel in New York City. That year, famous tubist Harvey Phillips was being honored at a special concert. This piece started the concert with the composer conducting an ensemble of about twenty euphonium and tuba players made up of Indiana University alumni, free-lance musicians and other friends of Mr. Phillips. The piece is based on the phrase Harvey Phillips Mr. Tuba. Simple Giftsis a traditional American folksong that has been arranged by many composers over the years. This arrangement was done in 1990 for performance at the International Tubists Universal Brotherhood Association Conference held in Sapporo, Japan. It was premiered by the Colonial Tuba Quartet that year. It has been arranged in four parts as well as this arrangement in five parts.Octubafest Polkawas composed in 1976 at the request of Harvey Phillips for performance at the Octubafest activities at Indiana University. It was premiered by the Indiana University Tuba Ensemble that year, conducted by Harvey Phillips. Mr. Phillips was the first to use the word Octubafest, probably in 1974 or 1975. Octubafest celebrations have taken place at many schools and universities ever since, usually in the month of October. He said that having an Octubafest celebration early in the school year provided an opportunity for new students entering college to get to know each other. At Indiana University during Harvey Phillips’ tenure (1973 – 1996) the Octubafest concerts were always followed by a party at Harvey’s house, making for a good time for all. Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1991 TUBA International Etude Composition Competition, for his Twenty Characteristic Etudes for Tubaan important part of the tuba pedagogy repertoire. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world. He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanish bands for Certamen competitions, with each band winning first prize. He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$30.00
27.55 €
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Gregory Fritze
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Three Pieces for Tuba Ensemble - Salutation Fanfare, Simple Gifts, Octubafest Polka
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Musica Nova USA
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SheetMusicPlus
Etude For Two (Violin Duet)
2 Violins (duet)
Violin Duet Violin - Level 2 - Digital Download SKU: A0.1475487 Composed by P. R. F…
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Violin Duet Violin - Level 2 - Digital Download SKU: A0.1475487 Composed by P. R. Frederick. Arranged by P. R. Frederick. Contemporary. 4 pages. P. R. Frederick #1053039. Published by P. R. Frederick (A0.1475487). A delightful, contrapuntal duet for violins. A score and separate parts are ptovided.See my other violin duets here
$10.00
9.18 €
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2 Violins (duet)
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P
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Etude For Two
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P. R. Frederick
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SheetMusicPlus
Etude For Two (Flute Duet)
2 Flutes (duet)
Flute Duet Flute - Level 2 - Digital Download SKU: A0.1262441 Composed by P. R. Fre…
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Flute Duet Flute - Level 2 - Digital Download SKU: A0.1262441 Composed by P. R. Frederick. Arranged by P. R. Frederick. Contemporary. Score. 4 pages. P. R. Frederick #855484. Published by P. R. Frederick (A0.1262441). A delightful, contrapuntal duet for flutes. Â A score and separate parts are ptovided.
$10.00
9.18 €
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2 Flutes (duet)
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P
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Etude For Two
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P. R. Frederick
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SheetMusicPlus
Etude For Two (Clarinet Duet)
2 Clarinets (duet)
Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.1262894 Composed by P. …
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Clarinet Duet Clarinet - Level 2 - Digital Download SKU: A0.1262894 Composed by P. R. Frederick. Arranged by P. R. Frederick. Contemporary. 2 scores. 4 pages. P. R. Frederick #855904. Published by P. R. Frederick (A0.1262894). A delightful, contrapuntal duet for clarinets. Â A score and separate parts are ptovided.
$10.00
9.18 €
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2 Clarinets (duet)
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P
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Etude For Two
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P. R. Frederick
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SheetMusicPlus
Fifteen Safari Duets for Tubas
2 Tubas (duet)
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, …
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Score. 38 pages. Published by Musica Nova USA
Fifteen Safari Duets for Tubas was composed for playing duets with my tuba students. The fifteen duets are at different levels of difficulty and various styles so that we always had duets to play no matter what ability of student. There is something in each duet for students to learn from the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. They are all fun to play. Although for tubas, they may be played on any instrument.<br> <br> In 1988 I spent a month in Kenya on safari and experiencing the African wildlife and culture, thus the inspiration for these duets that were composed soon after the trip in 1989 and 1990 and have been a regular part of my teaching ever since. Four of these duets are recorded on the compact disc “Tuba Safari” (Troy 1173) on Albany Records.<br> <br> 1. Elephants at Stave<br> <br> This duet presents the cantabile style studied for playing the tuba. I find that this duet helps the student much like the melodies of Borgodni etudes. There are more elephants in Tsavo than anywhere else in Kenya. It was not uncommon to see large families of thirty elephants at a time.<br> <br> 2. Gallop – Thompson Gazelle at Amboseli<br> <br> This duet provides an opportunity to read in a sharp key, D major, as well as basic rhythms and articulations. I find that the more advanced students can read in a faster tempo and other students can work in a slower tempo – a common choice in all of the duets. Large herds of playful Thompson Gazelle were a usual occurrence in most of the game parks in Kenya. <br> <br> 3. Rhinos at Nairobi Game Park<br> <br> This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase. The rhinoceros is a very noble animal that can grow to more that 1,000 pounds and is known for its horn. The Nairobi game park is located just outside the city, giving a sense of surrealism to the panorama.<br> <br> 4. Giraffes at Nairobi Twiga Park<br> <br> This is in a “rock” style with syncopated rhythms and cantabile melodies. The Nairobi Twiga park is just outside the city and is the only place where one can feed the giraffes. Along with their long necks they have very long tongues.<br> <br> 5. Warthogs at Ngulia<br> <br> Legato scales and syncopated rhythms are the features of this duet. Warthogs have tails that are held upright when they run.<br> <br> 6. Baboons at Kiliguni<br> <br> This duets alternates in rock style and swing. Baboons are sometimes a problem because they will try to steal food from the tourists’ tables. They will work together where one causes a diversion while the others steal. <br> <br> 7. Pastoral – Cape Buffalo at Samburu<br> <br> The key of A for this duet gives variation for the students. Cape Buffalo are in large herds on the savanna. The Samburu Lodge dining area was built next to a watering hole. At the beginning of breakfast there were no animals, but in fifteen minutes more than 500 cape buffalo were at the water hole.<br> <br> 8. Song - Hippos at Mzima Springs<br> <br> This is the easiest of rhythms and range of the duets, especially for the 2nd(student) part. Hippopotamuses can grow up to 4,000 pounds and spend most of their time sleeping in the water during the day. At night they go on land to hunt.<br> <br> 9. Leopards at Kimana Lodge<br> <br> This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many have never experienced this notation before. The leopard is a large predatory cat that usually hunts at night. <br> <br> 10. Colobus Monkeys at the Ark<br> <br> This is an Invention in the Bach style. The Ark is a building that was built in 1969 at a watering hole for tourists to watch wildlife. The colobus monkey is black with white on its forearms and chest. <br> <br> 11. Zebra Migration at Masai Mara<br> <br> This duet is in a “Medium Swing” jazz style. The great migration between the Masai Mara and Serengeti involves about two million wildebeest, zebras and other animals every year. It is considered one of the most impressive natural events worldwide.<br> <br> 12. Ostrich at Samburu<br> <br> This duet works on double time and half time. The ostrich is the largest bird in the world. In Samburu there was an ostrich that hung around the lodge, her name was Margaret. She was very friendly with everybody but she would steal your hat.<br> <br> 13. Cheetah at Voi<br> <br> This is another duet that includes graphic notation. The cheetah can run up to 80 miles an hour when chasing after prey. When not hunting prey it often walks very slowly.<br> <br> 14. Gallop – Gerenuk at Buffalo Springs<br> <br> This gallop displays different types of articulation. The gerenuk is an antelope with a slightly extended neck so it can eat higher leaves from trees.<br> <br> 15. Lions at Mara Sopa<br> <br> This duet is in the style of a fanfare. The lion is considered the king of the savanna. <br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud. <br> <br> His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.37 €
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2 Tubas (duet)
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Gregory Fritze
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Fifteen Safari Duets for Tubas
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Musica Nova USA
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SheetMusicPlus
La Formation Musicale Tout Simplement Volume 4
Musical course - Solfege
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises…
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Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises, European. Individual Part. 42 pages. Published by MCM Editions Musicales France
This methodis for fourth Year students Musical.<br> <br> <br> It coversthe bulk of the acquisitions requested for<br> fourth year of Formation and will make them discover all the language<br> Musical they need to play theirinstrument.<br> <br> <br> Each lessonincludes:<br> <br> <br> - Readingnotes horizontal and vertical<br> - Reading rhythm by the directory<br> - Rhythm struck hands together one voice two voice<br> - Singing<br> - Theory<br> - Melodic dictation<br> - Rhythmic Dictation
$29.00
26.63 €
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Musical course - Solfege
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Christian Champeil
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La Formation Musicale Tout Simplement Volume 4
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MCM Editions Musicales France
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SheetMusicPlus
La Formation Musicale Tout Simplement Volume 3
Musical course - Solfege
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises…
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Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises, European, Children's Musicals. Individual Part. 42 pages. Published by MCM Editions Musicales
This methodis for third Year students Musical.<br> <br> <br> It coversthe bulk of the acquisitions requested for<br> third year of Formation and will make them discover all the language<br> Musical they need to play theirinstrument.<br> <br> <br> Each lessonincludes:<br> <br> <br> - Horizontal and vertical readingnotes<br> - Reading by the directory<br> - Reading rhythm<br> - Rhythm struck hands together one voice and two voice<br> - Rhythm struck and read by the directory<br> - Singing<br> - Theory<br> - Melodic dictation<br> - Rhythmic Dictation
$29.00
26.63 €
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Musical course - Solfege
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Christian Champeil
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La Formation Musicale Tout Simplement Volume 3
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MCM Editions Musicales
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SheetMusicPlus
25 Jazz Etudes for Instruments in C, B-flat, E-flat and Bass Clef
Acoustic Guitar,B-Flat instrument,Bass Clef Instrument,C Instrument,C Trumpet,Instrumental…
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Acoustic Guitar,B-Flat instrument,Bass Clef Instrument,C Instrument,C Trumpet,Instrumental Solo,Saxophone,Tenor Trombone - Level 4 - Digital Download SKU: A0.1142072 By Joe Colombo. By Joe Colombo. Blues,Contemporary,Instructional,Jazz,Standards. Individual part. 104 pages. Joe Colombo #742445. Published by Joe Colombo (A0.1142072). This collection of jazz contrafact provides the aspiring jazz musician with interesting rhythmic, harmonic, and melodic etudes. The book contains 25 unique jazz etudes written for the intermediate to advanced player with parts in C, B-flat, E-flat, and Bass Clef. Once you feel comfortable playing an etude in your key, play it in the other two keys to further develop your skills. The etudes are based on chord changes of standard tunes that can be performed with a jazz combo.
$14.95
13.73 €
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Joe Colombo
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25 Jazz Etudes for Instruments in C, B-flat, E-flat and Bass Clef
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Joe Colombo
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SheetMusicPlus
Etudes for Two Pianos (2014)
2 Pianos, 4 hands
Instrumental Duet Instrumental Duet,Piano - Digital Download SKU: A0.976061 Compose…
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Instrumental Duet Instrumental Duet,Piano - Digital Download SKU: A0.976061 Composed by Alexander Kaloian. Contemporary. Score and parts. 146 pages. The Cloud Media Group #34369. Published by The Cloud Media Group (A0.976061). Advanced and energetic Etudes for Two Pianos in 4 Movements - Performance length of 18 minutes - Full Score + parts Primo and Secondo.
$7.00
6.43 €
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2 Pianos, 4 hands
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Alexander Kaloian
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Etudes for Two Pianos
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The Cloud Media Group
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SheetMusicPlus
Etudes for Two - A Music Reading Journey
1 Piano, 4 hands
1 Piano,4 Hands,Piano Duet - Level 3 - Digital Download SKU: A0.1085781 Composed by…
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1 Piano,4 Hands,Piano Duet - Level 3 - Digital Download SKU: A0.1085781 Composed by Nancy Bachmann. Classical,Contemporary,Instructional. Score. 121 pages. Nancy Bachmann #689952. Published by Nancy Bachmann (A0.1085781). The 33 duets in this book were composed, progressively-organized, and annotated to improve the players' music reading fluency. An ideal supplemental resource for intermediate piano students, this volume is also useful to beginners as a repertoire collection, and for advanced students as a sight-reading text. Each duet is a complete, audience-pleasing musical composition suitable for recital performance. Playing the duets from this book offers many rewards, including: *Greater Confidence for less performance pressure *Focused listening for creative response to other musicians *Preparing for the gratifying work of accompanying singers, instrumentalists and choirs, leading groups from the piano, playing in bands and chamber ensembles *Having fun playing together!
$19.00
17.45 €
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1 Piano, 4 hands
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Nancy Bachmann
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Etudes for Two - A Music Reading Journey
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Nancy Bachmann
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SheetMusicPlus
Music for Two, Volume 5 for Flute or Oboe or Violin & Clarinet Duet 46205
Clarinet, Violin (duet)
B-Flat Clarinet,Instrumental Duet,Violin - Level 5 - Digital Download SKU: A0.1109788
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B-Flat Clarinet,Instrumental Duet,Violin - Level 5 - Digital Download SKU: A0.1109788 By Daniel Kelley. By Various. Arranged by Daniel Kelley. 19th Century,20th Century,Baroque,Romantic Period,Wedding. 45 pages. Last Resort Music Publishing #712153. Published by Last Resort Music Publishing (A0.1109788). 46205 Volume 5 - Wedding & Classical Favorites Playable by Flute & Clarinet or Oboe & Clarinet or Violin & Clarinet This versatile series is designed to be played by two different instruments! Each duet book is published in score form (both parts on the same page) so that the players can play from the same part. All duets are arranged specifically for the listed instrumentation. 46205 Volume 5 Table of Contents Allegretto from Die Fledermaus (Strauss) Alleluia from Exsultate, Jubilate (Mozart) Arrival of the Queen of Sheba from Solomon (Handel) Ave Maria (Schubert) Badinerie from Suite #2 in B minor (Bach) Bist du Bei Mir (Bach) Capriccio #24 (Paganini) Clair de Lune (Debussy) Drinking Song from La Traviata (Verdi) Etude - E Major Op. 10 #3 (Chopin) Flower Duet from Lakme (Delibes) Largo Winter from the Four Seasons (Vivaldi) Mighty Fortress Is Our God (Luther) Minuet from Don Giovanni (Mozart) Minuet from Piano Sonata #20 in G Major (Beethoven) Minuet (Boccherini) Onward Christian Soldiers (Sullivan) Polka from Die Fledermaus (Strauss) Presto (Haydn) Sempre Libera from La Traviata (Verdi) Slavonic Dance #2 (Dvorak) Theme from Jupiter from The Planets (Holst) Valse Allemande from Carnaval (Schumann) Waltz from Sleeping Beauty (Tschaikovsky) All available on SheetMusicPlus and www.lastresortmusic.com Published by Last Resort Music Publishing www.lastresortmusic.com.
$22.00
20.2 €
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Clarinet, Violin (duet)
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Daniel Kelley
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Music for Two, Volume 5 for Flute or Oboe or Violin & Clarinet Duet 46205
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Last Resort Music Publishing
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SheetMusicPlus
Etudes for Two - Concert Duets for Intermediate Pianists
1 Piano, 4 hands
1 Piano,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.1085779 Composed by…
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1 Piano,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.1085779 Composed by Nancy Bachmann. Classical,Contemporary,Instructional. Score. 32 pages. Nancy Bachmann #689948. Published by Nancy Bachmann (A0.1085779). This volume contains five engaging four-hand Concert Duets, each with a different musical character to expand the players' interpretive experience and please audiences. In addition, every piece focuses on a specific technique or skill that the intermediate pianist needs to master. I composed these pieces to address some of the problems common to intermediate-level piano players. There are special advantages to playing duets at this stage of advancement, beyond encouraging technical and musical progress. Working on duets with another player will inject fresh enthusiasm into music study at a time when some intermediate students may experience a plateau in progress. We are, undeniably, social creatures, and making music together has a special joy. However, unlike choral singers and band or orchestral players, the pianist is often left out of the ensemble experience until relatively advanced. Intermediate pianists will truly benefit from the energizing effects of studying a piece of music with one another. Indeed, striving toward the shared goal of an expressive duet performance requires each player to develop the entire spectrum of skills: aural, technical, personal and interpretive that combine to make a complete musician. || These Concert Duets for Intermediate Pianists are fascinating and attractive pieces, and they will be a valuable contribution to the duet repertory. The highly instructive directions to the players will prepare them to enter the world of duet playing and explore its treasures. —William Corbett-Jones, Concert Pianist, International Award-Winning Recording Artist, SFSU Professor Emeritus || These are great duets; imaginative and expressive. What a wonderful way tor my intermediate students to learn essential skills! —Joan Cifarelli, Jazz/Classical Pianist, Pedagogue.
$10.00
9.18 €
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1 Piano, 4 hands
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Nancy Bachmann
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imaginative and expressive
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Etudes for Two - Concert Duets for Intermediate Pianists
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Nancy Bachmann
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SheetMusicPlus
Stereograms - Rhythmic Etudes for Bass Clef Instruments, Volume 1
Bassoon,Cello,Double Bass,Trombone - Level 3 - Digital Download SKU: A0.792356 Comp…
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Bassoon,Cello,Double Bass,Trombone - Level 3 - Digital Download SKU: A0.792356 Composed by David Brubeck. Blues,Jazz. 16 pages. Gordon Cherry #4806783. Published by Gordon Cherry (A0.792356). A visual stereogram represents a 3-D image while looking though a pair of 2-D images. There are special viewers that are used to give this effect where two images viewed through the special device can give a 3-D or stereographic effect. Brubeck's Stereograms for Bass Clef Instruments are musical versions of the graphic form. Brubeck uses familiar folk melodies to create his Stereograms and adds jazzy twists to many of them. The musical version may contain two or three individual parts within a single melodic line, thus the musical 3-D Stereogram is created. Bach’s unaccompanied works have underlying multiple parts in them and Brubeck has been inspired by the Master to create a similar texture in these works. They are suitable encore pieces or performance pieces, alone or grouped into ad hoc suites. Brubeck’s music requires rhythmic accuracy and multiple tonal colors, and are especially useful as sight reading tools to keep the performer sharp and on his/her toes. He has also added octave suggestions to allow them to be playable by the widest array of bass clef instruments Each Stereogram is dedicated to a special musical hero in Brubeck’s life. Excellent as study etudes or sight-reading pieces, Stereograms can be performed/practiced by Trombonists, Bass Trombonists, Tubists and Euphoniumists. The 13 melodies used in Volume I are: You Are My Sunshine, This Little Light of Mine, The Itsy Bitsy Spider, When the Saints Go Marching In, Just a Closer Walk With Thee, Frère Jacques, On Top of Old Smokey, If You're Happy and You Know It, London Bridge is Falling Down, Twinkle Twinkle Little Star, Jesus Loves Me, Have You Ever Seen a Lassie, Go Tell Aunt Rhody.
$25.00
22.96 €
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David Brubeck
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Stereograms - Rhythmic Etudes for Bass Clef Instruments, Volume 1
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Gordon Cherry
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SheetMusicPlus
Etude 3.0 from 25 Etudes for Piano using Mirroring, Symmetry, and Intervals
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.862535 Composed by Michael Bomier. …
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Piano Solo - Level 4 - Digital Download SKU: A0.862535 Composed by Michael Bomier. Contemporary,Instructional,Standards. Score. 6 pages. Michael Butkus-Bomier #2033351. Published by Michael Butkus-Bomier (A0.862535). Etude 3.0, the last of the single-interval material. tritones are rather easier to mirror, and otherwise make symmetrical than other intervals. Thus this piece is 100% mirrored, symmetrical, and topographically identical hand-to-hand. There are many structures which are also inversions, played simultaneously. Diminished 7ths, Dom7 b5 chords, even fifths with the tritone sandwiched in between the two halves of the fifths, are in evidence here. There are rhythmic syncopations and shifting accents. All in all a real showpiece of perpetuum mobile dissonance which makes sense even to the listener or player accustomed to Romantic literature. It's a gallop! Approx running time is 4 mins 20 secs. Two-interval pieces are next in line. MBB.
$2.50
2.3 €
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Piano solo
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Michael Bomier
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Etude 3.0 from 25 Etudes for Piano using Mirroring, Symmetry, and Intervals
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Michael Butkus-Bomier
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
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