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Etude of Chromatic Scale
Sheetmusic to print
22 sheet music found
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1
Chromatic Waltz Etude in C for Intermediate Piano
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1373288 Composed by Sibylle Kuder. …
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Piano Solo - Level 3 - Digital Download SKU: A0.1373288 Composed by Sibylle Kuder. Contest,Festival,Instructional,Traditional. Score. 2 pages. Sibylle Kuder #957633. Published by Sibylle Kuder (A0.1373288). Short, two-page Etude to practice chromatic scale patterns. The counting is easy as the LH provides the beat. The note-reading could be challenging for someone new to chromatic scales. However, there are no sharps or flats in the key signature which instantly eliminates one possible challenge. Technically it is not as difficult as it may seem at first as most of the triplet chromatic scale patterns are less than a measure long, providing frequent chances for the RH to rest or at least breathe. However, like with any passage work, it is important to not press / push into the keys. While the harmony of the first two lines is very traditional, using chord progressions that an (early) intermediate pianist would be familiar with, from the 3rd line on there are frequent modulations and surprise key changes which may pose a challenge for a pianist who has not as much experience with that. Musical / interpretation challenges could be to keep it light, to shape the many short melodic patterns, and to play with a smile.
$2.99
2.76 €
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Piano solo
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Sibylle Kuder
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Chromatic Waltz Etude in C for Intermediate Piano
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Sibylle Kuder
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SheetMusicPlus
Chopin Etude Op10 No2 "Chromatic Etude"
Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.910322
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Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.910322 Composed by Frederic Chopin. Arranged by Joseph B. Neeley. Classical,Instructional,Romantic Period,Standards. Score and parts. 9 pages. Joseph Neeley #5370973. Published by Joseph Neeley (A0.910322). The original technical study composed by Frederic Chopin is considered one of the most difficult classical solo piano pieces due to the insistence on the weaker fingers playing chromatic scales. This arrangement captures the entire original work in a duet format to allow less advanced players to easily perform the signature piece. The treble player's right hands are dedicated in playing the chromatic scale that gives the song its signature sounds with semiquaver notes dedicated to the left hand. The base clef player is dedicated to performing the much less advanced base chords of the original study. This arrangement is of intermediate difficulty for the treble player and beginner difficulty for the base player.
$4.99
4.6 €
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Frederic Chopin
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Chopin Etude Op10 No2 "Chromatic Etude"
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Joseph Neeley
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SheetMusicPlus
Etude of Chromatic Scale (Piano Solo)
Piano solo
Piano Solo - Digital Download SKU: A0.1033141 Composed by Nancy Yang Teng. Contempo…
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Piano Solo - Digital Download SKU: A0.1033141 Composed by Nancy Yang Teng. Contemporary. Score. 3 pages. Nancy Yang Teng #6108935. Published by Nancy Yang Teng (A0.1033141).
$5.00
4.61 €
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Piano solo
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Nancy Yang Teng
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Etude of Chromatic Scale
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Nancy Yang Teng
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SheetMusicPlus
Étude in A minor op.10 no.2
Flute and Piano
Flute,Piano - Digital Download SKU: A0.1035214 Composed by Fréderic François …
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Flute,Piano - Digital Download SKU: A0.1035214 Composed by Fréderic François Chopin ( 1810-1849). Arranged by Paul Taffanel, James Strauss. Romantic Period. Score and part. 7 pages. James Strauss #3518023. Published by James Strauss (A0.1035214). Étude Op. 10, No. 2, in A minor, is a technical study composed by Frédéric Chopin for the piano. It was preceded by a relative major key. Composed in 1829, it was first published in 1833 in France, Germany, and England. This étude is an exercise in developing the independence of the weaker fingers of the right hand by playing rapid chromatic scale figures with the third, fourth, and fifth fingers of the right hand. Meanwhile, the first two fingers of the right and the left hand play an accompaniment of short chords and single notes. Chopin indicated the fingering himself note by note for almost 800 notes. Paul Taffanel transcribe this Etude for solo flute as an Etudeof Chromatism, and I Re- arranged it add the piano accompaniment. .
$9.99
9.21 €
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Flute and Piano
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Fréderic François Chopin
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Étude in A minor op.10 no.2
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James Strauss
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SheetMusicPlus
Wave Etude "Determination"
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.990878 Composed by Jill Kremer. Con…
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Piano Solo - Level 3 - Digital Download SKU: A0.990878 Composed by Jill Kremer. Contemporary,Instructional,Standards. Score. 2 pages. Jill Kremer #4836511. Published by Jill Kremer (A0.990878). The song begins with frantic chromatic scales rushing up the piano in pursuit of success, followed by a full sweep up to a victorious descent.
$1.99
1.83 €
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Piano solo
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Jill Kremer
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Wave Etude "Determination"
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Jill Kremer
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SheetMusicPlus
Quarantine Etudes for Violin
Violin
Violin - Advanced Intermediate - Digital Download Composed by Piotr Szewczyk. 21st …
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Violin - Advanced Intermediate - Digital Download Composed by Piotr Szewczyk. 21st Century, Contemporary Classical, Method, Etudes and Exercises, Technique Training. Individual Part. 11 pages. Published by Piotr Szewczyk
Quarantine Etudes for Violin by Dr. Piotr Szewczyk<br> Composed in May 2020 during the global pandemic.<br> <br> All major etude books for violin, including those by Mazas, Kreutzer, Dont and<br> others, are firmly rooted in romantic harmonic language; minor and major triads,<br> arpeggios, diminished and augmented chords, dominant 7th etc.<br> <br> A 21st Century violinist will encounter a much more varied musical language.<br> Those standard etudes don’t prepare students for octatonic scales, various<br> modes, whole tone scales, rapid chromatic twists and turns, atonality, extended<br> jazz harmonies etc. that are a big part of contemporary music.<br> <br> I created these bite-sized etudes to help students experience different musical<br> languages and go against the ingrained familiar patterns their fingers are used to.<br> I hope they will be fun and adventurous challenge for violin students of all ages.
$5.99
5.52 €
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Violin
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Piotr Szewczyk
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Quarantine Etudes for Violin
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Piotr Szewczyk
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SheetMusicPlus
Scales, Arpeggios, and Beneficial Studies for Intermediate Trumpet Players
Trumpet
Trumpet Solo - Level 3 - Digital Download SKU: A0.726446 Composed by Kenneth Baird.…
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Trumpet Solo - Level 3 - Digital Download SKU: A0.726446 Composed by Kenneth Baird. Arranged by Kenneth Baird Music. Instructional. Individual part. 69 pages. Kenneth Baird Music #6322401. Published by Kenneth Baird Music (A0.726446). Designed to be a companion volume to any standard intermediate band method book (books 2 and 3) or to a book of etudes, Scales, Arpeggios, and Beneficial Studies for Intermediate Trumpet Player focuses on developing mastery in the keys and instrument range of what an intermediate player is likely to encounter in his or her everyday playing. The keys covered here in detail range from those with three flats to those with three sharps. Keys with more sharps or more flats are only very briefly touched upon. In addition to the usual major, minor and chromatic scales, studies on pentatonic and blues scales are also included. The book also includes interval studies, flexibilities, double and triple tonguing, range building, swing style basics, and a suggested warm-up. Additionally, several pages of technical studies inspired by H. L. Clarke's renowned book are included. Another notable feature is a section on expressive playing, including vocalises, traditional melodies, and melodies from symphonic composers.Book Contents:Key Signatures.
$7.95
7.33 €
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Trumpet
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Kenneth Baird
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Scales, Arpeggios, and Beneficial Studies for Intermediate Trumpet Players
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Kenneth Baird Music
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SheetMusicPlus
Etudes in the Third Octave (version for C recorders)
Recorder
Recorder Solo - Level 3 - Digital Download SKU: A0.1374642 Composed by James Devor.…
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Recorder Solo - Level 3 - Digital Download SKU: A0.1374642 Composed by James Devor. Contemporary,Early Music,Renaissance. Individual part. 10 pages. JDevor Music, LLC #959170. Published by JDevor Music, LLC (A0.1374642). Etude in the Third Octavefor improving solo recorder playing (version for C recorders)The intention of this book is to introduce the third octave of the recorder to intermediate and advanced students no matter their age. The first section introduces each chromatic pitch from Bb6 to G6 (the highest possible pitch on a standard soprano recorder) in a pedagogically appropriate fashion. Each etude should be practiced slowly at first, focusing on correct fingering, phrasing and articulation prior to attaining full tempo. All of these etudes are purposefully composed using a variety of rhythmic and harmonic materials. On some of the fingering charts, ‘bell’ is included underneath the fingering. This indicates that the bell is to be closed either by pushing it up against the leg or the use of a bell key. Throughout the musical examples this is also reminded to the student by the usage of the ‘+’ sign.The second and third sections take students through recommended exercises in octaves, fifths, and major/minor scales. The goal here is to practice clean and swift transitions between notes, especially when in distant registers.The last section comprises two page-long ‘Grand Etudes’, which each reinforce and combine material from earlier in this book. Each one is about a minute long and uses the entire range of the instrument. When practicing these, be sure to attempt to keep the sound of the recorder consistent across both low and high registers.
$5.99
5.52 €
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Recorder
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James Devor
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Etudes in the Third Octave
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JDevor Music, LLC
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SheetMusicPlus
Etudes in the Third Octave (version for F recorders)
Treble (Alto) Recorder
Alto Recorder,Recorder Solo - Level 3 - Digital Download SKU: A0.1374647 Composed b…
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Alto Recorder,Recorder Solo - Level 3 - Digital Download SKU: A0.1374647 Composed by James Devor. Contemporary,Early Music,Renaissance. Individual part. 10 pages. JDevor Music, LLC #959175. Published by JDevor Music, LLC (A0.1374647). Etudes in the Third Octavefor improving solo recorder playing (version for F recorders)The intention of this book is to introduce the third octave of the recorder to intermediate and advanced students no matter their age. The first section introduces each chromatic pitch from Eb6 to C7 (the highest possible pitch on a standard F alto recorder) in a pedagogically appropriate fashion. Each etude should be practiced slowly at first, focusing on correct fingering, phrasing and articulation prior to attaining full tempo. All of these etudes are purposefully composed using a variety of rhythmic and harmonic materials. On some of the fingering charts, ‘bell’ is included underneath the fingering. This indicates that the bell is to be closed either by pushing it up against the leg or the use of a bell key. Throughout the musical examples this is also reminded to the student by the usage of the ‘+’ sign.The second and third sections take students through recommended exercises in octaves, fifths, and major/minor scales. The goal here is to practice clean and swift transitions between notes, especially when in distant registers.The last section comprises two page-long ‘Grand Etudes’, which each reinforce and combine material from earlier in this book. Each one is about a minute long and uses the entire range of the instrument. When practicing these, be sure to attempt to keep the sound of the recorder consistent across both low and high registers.
$5.99
5.52 €
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Treble (Alto) Recorder
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James Devor
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Etudes in the Third Octave
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JDevor Music, LLC
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SheetMusicPlus
Etude in C, Le Couppey-Nolte
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.987083 Composed by Eric Paul Nolte …
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Piano Solo - Level 5 - Digital Download SKU: A0.987083 Composed by Eric Paul Nolte and Felix Le Couppey. Arranged by Eric Paul Nolte. Contemporary,Instructional. Score. 5 pages. Eric Paul Nolte #1954995. Published by Eric Paul Nolte (A0.987083). This piece is a free adaptation and a complete reworking of a study by Felix Le Couppey (1811-1887), from his L'Agilité, Opus 20, 25 Progressive Studies for Mechanism and Light Touch. In its original form, this study was a charming little piece of musical fluff. But getting it up to speed reduced me to tears! It also gave me an epiphany of immense power that transformed my technique. Suddenly I could play faster than I had ever thought possible, and I could do so with a thrilling ease! This epiphany emerged from the spluttering frustration I felt over my inability to play these sixteenth notes at Le Couppey's metronome marking of 144. It dawned on me that I couldn’t play fast enough because I was tripping over my own fingers when I used the overly articulated technique of moving the fingers by the lift, throw, relax method. This superfluous motion creates an impenetrable barrier, a speed wall, as does playing legato scales by passing the thumb under the palm, when shifting hand position up and down the keyboard. So I found another way-which I’ve since learned was known to every pianist who ever achieved prodigious speed. Here’s how to bring this piece up to speed with ease: Be sure to practice this piece with each hand alone. For each group of sixteenth notes, gently place the four fingers down simultaneously, to get the feel. Think of your arm, from elbow to fingertips, as something like a kitchen utensil, such as a spatula. Moving your right arm as a unit, place your finger tips down into the key bed, depressing all four notes at once, as a block chord. Make sure that all the fingers remain stiff (not rigid with tension, but just stiff enough to resist collapsing upwards.) Slowly lift and then play each group by placing all the fingers down with a rotation of your forearm, calm and relaxed, with the fingers rolling through the notes at the speed of a brief snare drum roll: Rrrrip! To rip through this group of notes like this takes no more effort than to place those four fingers down, calmly, all at once! Then, with a quick shift up or down the keyboard to get into position for the next group, that’s the whole trick for playing such passages with astonishing speed and ease! It takes time and effort to get the knack here, but the result can be transformative and thrilling! As for my adaptation of this study, I believe it offers intermediate advanced players the chance to enjoy a great leap in technique like the one I experienced, and also offers a piece of music that one might not blush to play outside the practice room-perhaps bringing it at least into the living room for a soirée, if not into the concert hall. To make this adaptation, I wrote a grumbly bass line with lungs, and nice fat chords to flesh out most of the skinny little triads that accompany the original study’s fast passages. I added a brooding, chromatic introduction that features as a melody the accompanimental figure of a broken triad that Le Couppey wrote a few times on the second page, in various inversions. I employed this broken chord figure several more times in both hands, and also added a little coda, sprinkled with sparkle. Playing time is about 1 minute and 30 seconds.
$3.99
3.68 €
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Piano solo
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Eric Paul Nolte and Felix Le Couppey
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Etude in C, Le Couppey-Nolte
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Eric Paul Nolte
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SheetMusicPlus
High School Band Practice Book
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.978034 Composed by Fermata Nowher…
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Concert Band - Level 3 - Digital Download SKU: A0.978034 Composed by Fermata Nowhere. Contemporary. Score and parts. 83 pages. J. Gallagher #5776583. Published by J. Gallagher (A0.978034). Practice book of over 200 treble clef band instrument exercises!Included in this 80 page instrument calisthenics book:i. How To Practice page.ii. Book Index1. Major Scale Exercises2. Chromatic Scale3. Major Scales (all keys)4. Natural Minor Scales (all keys)5. Harmonic Minor Scales6. Major Triads & Arpeggios (6/8)7. Rhythm Exercises8. Rhythmic EtudesThis book is intended to be used year round for middle & high school level students. Students should practice at least 2-3 pages per week. Over the 40 week school year, students can stay on track to master their instrument and complete all the exercises.This book is intended for treble clef instruments. The range of each instrument was taken into account to use in the band classroom. While band instruments may not be able to play exercises in unison, they can be used for homework, sectionals, private lessons, and test/quiz assessments to keep your students on track with their instruments!
$7.99
7.37 €
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Concert band
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Fermata Nowhere
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Arpeggios (6/8)
7
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High School Band Practice Book
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J. Gallagher
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SheetMusicPlus
The Bat
Easy Piano
Easy Piano - Level 3 - Digital Download SKU: A0.910338 Composed by Joseph B. Neeley…
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Easy Piano - Level 3 - Digital Download SKU: A0.910338 Composed by Joseph B. Neeley. Concert,Halloween,Instructional,Standards. Score. 3 pages. Joseph Neeley #6050079. Published by Joseph Neeley (A0.910338). This composition is inspired by Chopin's Op. 10 No. 2 Chromatic Etude and the images and sounds of bats exiting their cave for a nights hunt. This composition is an excellent tool for learning the chromatic scale, opening the door to more complex compositions like Rimsky-Korsakov's Flight of the Bumblebee. The composition is geared for the intermediate pianist although within reach of beginner and early intermediate pianist when played at a slower tempo. Also, a good song for the Halloween season.
$1.99
1.83 €
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Easy Piano
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Joseph B
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The Bat
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Joseph Neeley
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SheetMusicPlus
The Hummingbird
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.910307 Composed by Joseph Neeley. C…
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Piano Solo - Level 4 - Digital Download SKU: A0.910307 Composed by Joseph Neeley. Concert,Instructional,Romantic Period,Standards. Score. 2 pages. Joseph Neeley #4975755. Published by Joseph Neeley (A0.910307). This piece puts to practice the chromatic scale with staccato chords in the left hand. A great precursor to Flight of the Bumblebee or Chopin's Chromatic Etude.
$1.99
1.83 €
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Piano solo
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Joseph Neeley
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The Hummingbird
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Joseph Neeley
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SheetMusicPlus
Supplemental Practice Alternatives for Trumpet
Trumpet
Trumpet - Level 4 - Digital Download SKU: A0.817143 Composed by Charles Decker. 21s…
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Trumpet - Level 4 - Digital Download SKU: A0.817143 Composed by Charles Decker. 21st Century,Contemporary,Contest,Festival,Instructional. Educational Exercises. 42 pages. Charles Decker Music Press #4303103. Published by Charles Decker Music Press (A0.817143). Supplemental Practice Alternatives is a thirty-page compilation of alternative practice approaches designed to improve and stabilize essential trumpet performance skills that was developed over four decades of teaching ambitious trumpeters at all levels. These alternative practice approaches provide practical variations and suggestions on how to apply them to the myriad of etude and study books with the objective of advancing and mastering crucial aspects of trumpet performance. Supplemental Practice Alternatives include study approaches for First and Third-Valve Slide Intonation Control; Single and Multiple-Tonguing Consistency Development; Range Expansion Tone Control; Lip Trill and Shake Development; Long-Tone Studies Using Basic Triad and 7th Chord Modes; Developing Quick Modal Transitioning Capability Between Basic Scales (major, minors, whole tone, chromatic); Review of Supplemental Scales Frequently Encountered (whole tone, blues, pentatonic); Advancing Fingering Coordination with emphasis on third-finger control; and two helpful supplements - a review of Common Italian terms Categorized into Meaningful Genres and 25 Practice Suggestions passed on by generations of successful musicians..For more trumpet study materials to improve performance capabilities and musicianship see my Intermediate Serial Studies for Trumpet (highly recommended by the International Trumpet Guild Journal) as well as my First Technical Studies for Trumpet for young students with Charles Decker Music Press at Sheet Music Plus. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.
$9.95
9.17 €
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Trumpet
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Charles Decker
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Supplemental Practice Alternatives for Trumpet
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Charles Decker Music Press
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SheetMusicPlus
Indispensable Scales, Exercises and Etudes-Developing Flutist
Flute
By Mizzy Mccaskill. For Flute. All Styles. 80 pages. Published by Mel Bay Publications - D…
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By Mizzy Mccaskill. For Flute. All Styles. 80 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609740061. Technical exercises applicable to intermediate literature. Sets the foundation for more difficult daily study routines. Practice of these scale exercises helps one acquire agility and evenness in playing. A reliable technique develops when the fingers are exercises in all key patterns. Includes major and minor scales (all forms), arpeggios, scales in thirds, triplet scales, extended scales, and chromatic exercise in each key.
$17.99
16.59 €
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Flute
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Mizzy Mccaskill
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Indispensable Scales, Exercises and Etudes-Developing Flutist
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Introspection 2
Piano solo
Piano Solo - Digital Download SKU: A0.987082 Composed by Eric Paul Nolte. Contempor…
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Piano Solo - Digital Download SKU: A0.987082 Composed by Eric Paul Nolte. Contemporary. Score. 14 pages. Eric Paul Nolte #1551123. Published by Eric Paul Nolte (A0.987082). This second piece in my series of Introspections is a sort of passacaglia. It is a dramatic but lyrical piece in triple meter that features a kind of ground bass of chromatic harmony, with melodic variations above it. This much-varied ostinato is introduced emphatically in the opening statement, is developed throughout, and closes the piece, transfigured. In my introduction to this piece, I offer some technical advice for the intermediate advanced pianists, for whom the piece is written, on how to play to hard passages, particularly the fast scales. This piece is not for beginners, but neither is it nearly as difficult as any of the harder etudes by Chopin. Moreover, much of it is easy and, I should hope, gratifying to play. While the harmony of this piece is chromatic and spiky, it is tonal, melodic, and, all said, I give you this one with my most conscientious effort not to make your ears bleed, or leave you baffled or suffering from musical vertigo. The performing time time is about seven minutes.
$3.99
3.68 €
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Piano solo
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Eric Paul Nolte
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Introspection 2
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Eric Paul Nolte
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SheetMusicPlus
The Clarke Variations-bass clef edition
Bass Clef Instruments
Trombone, Tuba, Euphonium - Advanced Intermediate - Digital Download Composed by Eric…
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Trombone, Tuba, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, General Instructional, Technique Training. 55 pages. Published by Faded Duck Music
Most brass players are familiar with the ubiquitous Clarke’s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. Click our free sample below to read the introduction and try some easy sample exercises. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.<br> <br> There are two essential books that just about every trumpet player has studied; Arban’s Conservatory Method and Clarke’s Technical Studies. The Arban is fondly referred to as “the trumpet player’s bible”. If that is the case, then the Clarke should be “the new testament”. I consider Herbert L. Clarke to be the “George Washington” of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country’s first great virtuosos.<br> <br> The impetus for this set of variations is based on the idea of an “Expanding Scale” or “Expanding Range”. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are “holding one note” and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.<br> <br> This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I’ve also included more chromatic work based on Studies 7 & 8.
$16.95
15.63 €
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Bass Clef Instruments
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Eric Bolvin
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The Clarke Variations-bass clef edition
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Faded Duck Music
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SheetMusicPlus
Take The A-Tude for Tenor Saxophone
Tenor Saxophone
Tenor Saxophone Solo - Level 2 - Digital Download SKU: A0.1113663 By Anderson Queve…
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Tenor Saxophone Solo - Level 2 - Digital Download SKU: A0.1113663 By Anderson Quevedo. By Anderson Quevedo. Arranged by Anderson Quevedo. Instructional,Jazz,Standards. Individual part. 2 pages. The Sheet Music Library #715552. Published by The Sheet Music Library (A0.1113663). Take The A-Tude for Tenor Saxophone is a jazz etude based on the chord changes for Take The A-Train. In the first section is a great way how NOT to practice scales for improvisation BUT a FUN way to explore this kind of field. Slowly connecting ideas from scales to arpeggios, small motifs and enclosures and chromatic approaches.
$6.99
6.44 €
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Tenor Saxophone
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Anderson Quevedo
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Take The A-Tude for Tenor Saxophone
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The Sheet Music Library
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SheetMusicPlus
Introspection 1
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte.…
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Piano Solo - Level 4 - Digital Download SKU: A0.987080 Composed by Eric Paul Nolte. Contemporary. Score. 12 pages. Eric Paul Nolte #566749. Published by Eric Paul Nolte (A0.987080). This piece is one of an album of my contemporary classical compositions. Yes, I too wince at offering you something saddled with this oxymoron--contemporary classical--but this phrase is now an irresistible, commercially recognized category defying any principled protest from the ranks of wounded musicological curmudgeons like me. The style here employs a tonal palette that celebrates the more or less common practice of composers from J. S. Bach to Ravel, Prokofiev, and the 20th century American songbook. You will see that I reject Arnold Schoenberg's assertion that by 1910 tonality had exhausted itself, and needed to be reinvented according to an aesthetics that dismiss our scales and harmonies as purely arbitrary human conventions with no basis in nature. On the contrary, I believe that we are endowed by our nature to respond emotionally to our traditional materials of music in the same way as nature equips us to respond to the taste of food and drink. We differ in our taste for savory, sweet, and sour, but it is wrong to say that our very capacity to taste is a merely cultural convention. There is biology, and then physics too! By the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats. The major triad is a force of nature, like the sun, wind, and rain! I also like big fat juicy 13 chords, and contrapuntal weaving of melody! I believe the purpose of music is to sway us emotionally, and if it can uplift us too, so much the better! While I am not ashamed to write a bare triad, unadorned by chromatic alterations (much less by clusters of chord collisions) I have nevertheless employed much complicated harmony. Moreover, some passages are written in a spiky harmony that might be analyzed as bitonal, as at the meno mosso section, beginning at measure 112, where the mood I wanted to set inspired me to write the theme in C minor while the left hand climbs up from the bottom of the keyboard in a widely spaced, D-flat 13 arpeggio. I have composed these pieces with the skills of intermediate to early-advanced pianists in mind. This piece demands the ability to play some counterpoint between two voices in one hand. There is a section that requires one to play moderately fast octaves, but nothing as difficult as the G minor Prelude of Chopin (to say nothing of his harrowing octave Etude from Opus 25!) While there are many polyrhythmic passages, none is more complicated than two-against-three notes. All said, there is nothing here to make your hands (or, I dare say, your ears) bleed. The performing time is around nine minutes and a breath or three. I have a number of videos posted on YouTube.com, I have a website under construction, ericpaulnolte.com, and, since 2011, an occasional blog of my ravings on life, love, and the cosmos, at ericpaulnolte.blogspot.com. You may write me at nolte0125@gmail.com.
$3.99
3.68 €
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Piano solo
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the same standard, it can't be true that one person's taste for arsenic is as valid as another's taste for beer or kumquats
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Eric Paul Nolte
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Introspection 1
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Eric Paul Nolte
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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)
$23.99
22.12 €
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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
Building Harmonica Technique
Harmonica
By David Barrett. For Harmonica (Diatonic). All Styles. 80 pages. Published by Mel Bay Pub…
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By David Barrett. For Harmonica (Diatonic). All Styles. 80 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781610655057. Offering a comprehensive study of harmonica techniques and blues soloing concepts, this book contains studies and etudes on bending notes (draw and blow), throat vibrato, two-hole shakes, tongue blocking, acoustic and amplified playing, music theory, blues scales, octave substitutions, playing positions, and position substitutes. Intended for the intermediate to advanced diatonic harmonica player, this book provides extensive instruction on lead and accompaniment playing styles. The companion audio includes musical example and play-along songs. Each exercise is played and every full length song is fully accompanied by a blues band. Each large example is played once with harmonica and again with accompaniment only. This book can be used with both diatonic and chromatic harmonica, but us more recommended for the diatonic player. Includes access to online audio.
$17.99
16.59 €
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Harmonica
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David Barrett
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Building Harmonica Technique
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
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