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You've selected:
How Great Thou Art, Harp Solo
Sheetmusic to print
31 sheet music found
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1
26
How Great Thou Art for INTERMEDIATE HARP Solo
Harp
Harp - Level 2 - Digital Download SKU: A0.1393301 Composed by Stuart Hine. Arranged…
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Harp - Level 2 - Digital Download SKU: A0.1393301 Composed by Stuart Hine. Arranged by The Hobby Harpist. Christian,Instructional,Praise & Worship,Religious,Traditional. Score. 3 pages. Trish Boril #976781. Published by Trish Boril (A0.1393301). This is an intermediate harp arrangement of the beloved hymn, How Great Thou Art. It is written with single notes in the right hand, and a combination of rolled chords and simple arpeggios in the left hand. No lever changes. It is in the key of C. Includes the lyrics to the first verse. Playable on all harps, lever harps, pedal harps, Fireside Harps, Waring Harps, Dusty Strings, Thormalen, Lyon and Healy, Camac Harps, Musicmakers, Salvi Harps, Blevins, Emerald Harps, Celtic harps, Folk harps, Heartland Harps, Lewis Creek, Marini Made Harps, Mountain Glen, Rees harps, Stoney End, Triplett Harps, Venus harps, and more! Arranged by Trish Boril for The Hobby Harpist.
$4.99
4.66 €
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Harp
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Stuart Hine
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How Great Thou Art for INTERMEDIATE HARP Solo
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Trish Boril
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SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Choral, Solo - Digital Download SKU: H1.C5993DP Composed by Stuart Hine. Arranged b…
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Choral, Solo - Digital Download SKU: H1.C5993DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Octavo. 12 pages. Hope Publishing - Digital #C5993DP. Published by Hope Publishing - Digital (H1.C5993DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$3.25
3.03 €
#
Stuart Hine
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Choral, Solo - Digital Download SKU: H1.C5720DP Composed by Stuart Hine. Arranged b…
(+)
Choral, Solo - Digital Download SKU: H1.C5720DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Octavo. 12 pages. Hope Publishing - Digital #C5720DP. Published by Hope Publishing - Digital (H1.C5720DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$3.25
3.03 €
#
Stuart Hine
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Vocal ensemble Solo (Med. Voice-Key A-flat)-Digital - Digital Download SKU: H1.8552DP
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Vocal ensemble Solo (Med. Voice-Key A-flat)-Digital - Digital Download SKU: H1.8552DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Vocal Solo Sheet Music Series. Hymntune, General Worship, Worship. Score. 8 pages. Hope Publishing - Digital #8552DP. Published by Hope Publishing - Digital (H1.8552DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$7.95
7.42 €
#
Stuart Hine
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Choral, Solo - Digital Download SKU: H1.C5724DP Composed by Stuart Hine. Arranged b…
(+)
Choral, Solo - Digital Download SKU: H1.C5724DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Octavo. 12 pages. Hope Publishing - Digital #C5724DP. Published by Hope Publishing - Digital (H1.C5724DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$3.25
3.03 €
#
Stuart Hine
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Solo Solo instrument - Digital Download SKU: H1.C5701ODP Composed by Stuart Hine. A…
(+)
Solo Solo instrument - Digital Download SKU: H1.C5701ODP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Set of Instrumental Parts. 60 pages. Hope Publishing - Digital #C5701ODP. Published by Hope Publishing - Digital (H1.C5701ODP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$89.95
83.96 €
#
Stuart Hine
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul (How Great Thou Art)
Choral, Handbell, Vocal, Solo - Digital Download SKU: H1.C5701DP Composed by Stuart…
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Choral, Handbell, Vocal, Solo - Digital Download SKU: H1.C5701DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Ring & Sing, Orchestra, Vocal Solo/Duet. Hymntune, Ring & Sing, General Worship, Worship. Octavo. 12 pages. Hope Publishing - Digital #C5701DP. Published by Hope Publishing - Digital (H1.C5701DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$3.25
3.03 €
#
Stuart Hine
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
How Great Thou Art, Solo Lap Harp
Harp
Harp - Digital Download SKU: A0.1059283 Arranged by Cindy Blevins. Contemporary. Fu…
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Harp - Digital Download SKU: A0.1059283 Arranged by Cindy Blevins. Contemporary. Full Performance. Duration 154. Cindy Blevins #5302009. Published by Cindy Blevins (A0.1059283). This mp3 was recorded playing my Blevins harp, from my harp book Feast of Favorites, Vol. 4. The sheet music for this lap harp arrangement is available here on Sheet Music Plus, Item # 223663. You can just enjoy listening, or if you are a harpist and have the sheet music, you can hear how the arrangement sounds and play along.
$1.99
1.86 €
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Harp
#
How Great Thou Art, Solo Lap Harp
#
Cindy Blevins
#
SheetMusicPlus
How Great Thou Art, Easy Harp Solo
Harp
Harp - Digital Download SKU: A0.1058356 Arranged by Cindy Blevins. Christian,Praise…
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Harp - Digital Download SKU: A0.1058356 Arranged by Cindy Blevins. Christian,Praise & Worship,Sacred,Spiritual. Full Performance. Duration 140. Cindy Blevins #3097747. Published by Cindy Blevins (A0.1058356). This mp3 was recorded playing my Blevins harp.
$1.99
1.86 €
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Harp
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How Great Thou Art, Easy Harp Solo
#
Cindy Blevins
#
SheetMusicPlus
How Great Thou Art, Harp Solo
Harp
Composed by Swedish Folk Tune. Arranged by Jodi Ann Tolman. Christian, Sacred, Praise & Wo…
(+)
Composed by Swedish Folk Tune. Arranged by Jodi Ann Tolman. Christian, Sacred, Praise & Worship, Latter-Day Saints, Easter. Individual Part, Sheet Music Single, Solo Part. 3 pages. Published by Jodi Ann Tolman (S0.318525). - Individual Part,Sheet Music Single,Solo Part - Christian,Sacred,Praise & Worship,Latter-Day Saints,Easter - Jodi Ann Tolman
$7.99
7.46 €
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Harp
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Swedish Folk Tune
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How Great Thou Art, Harp Solo
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Jodi Ann Tolman
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SheetMusicPlus
Then Sings My Soul
Vocal, Solo vocal duet (high & low voice-key of A-flat) - Digital Download SKU: H1.8681…
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Vocal, Solo vocal duet (high & low voice-key of A-flat) - Digital Download SKU: H1.8681DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Vocal Solo Sheet Music Series. Hymntune, General Worship, Worship. Vocal score. 8 pages. Hope Publishing - Digital #8681DP. Published by Hope Publishing - Digital (H1.8681DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel 9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Re.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$7.95
7.42 €
#
Stuart Hine
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul
Choral, Solo - Digital Download SKU: H1.C6102DP Composed by Stuart Hine. Arranged b…
(+)
Choral, Solo - Digital Download SKU: H1.C6102DP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Orchestra, Vocal Solo/Duet. Hymntune, General Worship, Worship. Octavo. 12 pages. Hope Publishing - Digital #C6102DP. Published by Hope Publishing - Digital (H1.C6102DP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel:9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Revelation 4:4 - Reve.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$3.25
3.03 €
#
Stuart Hine
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
Then Sings My Soul
Handbells
Solo 3-5 octave handbell accompaniment - Digital Download SKU: H1.C6102HBDP Compose…
(+)
Solo 3-5 octave handbell accompaniment - Digital Download SKU: H1.C6102HBDP Composed by Stuart Hine. Arranged by Mary McDonald. Piano Accompaniment with Optional Orchestra. Vocal Solo Sheet Music Series. Hymntune, General Worship, Worship. Handbell score. 8 pages. Hope Publishing - Digital #C6102HBDP. Published by Hope Publishing - Digital (H1.C6102HBDP). Stuart K. Hine. 1 Thessalonians 4:16 - Daniel:9:4 - Habakkuk 3:2 - John 14:3 - Psalms 19:1 - Psalms 47:2 - Psalms 48:1 - Psalms 66:3 - Psalms 68:35 - Psalms 8:3 - Psalms 99:3 - Revelation 4:1 - Revelation 4:2 - Revelation 4:3 - Revelation 4:4 - Reve.Original anthem with notes of How Great Thou Art Inspired by what is considered to be one of the greatest hymn texts of the 20th century, Mary McDonald has crafted an exceptional anthem available in a variety of voices. With altered melody and lush harmonies, this fresh treatment awakens a new breadth and splendor into this timeless hymn, giving rise to the greatness that it invokes in worshiping God, our Creator. The gorgeous orchestration by Michael Lawrence is a true complement to Mary's splendid choral writing. This includes a Conductor's Score and parts for: Flute 1 & 2, Oboe, Clarinet 1 & 2, Trumpet 1, Trumpet 2 & 3, Horn 1 & 2 (opt. Alto Sax), Trombone 1 & 2 (opt. Tenor Sax/Baritone T. C. ), Trombone III/Tuba, Percussion, Timpani, Harp, Piano, Violin 1, Violin 2, Viola, Cello and String Bass (opt. Bass Clarinet).
$7.00
6.53 €
#
Handbells
#
Stuart Hine
#
Then Sings My Soul
#
Hope Publishing - Digital
#
SheetMusicPlus
How Great Thou Art, Solo for Lap Harp
Lap Steel Guitar
Arranged by Cindy Blevins. Christian, General Worship. Sheet Music Single. 3 pages. Publis…
(+)
Arranged by Cindy Blevins. Christian, General Worship. Sheet Music Single. 3 pages. Published by Cindy Blevins (S0.223663). - Sheet Music Single - Christian,General Worship - Cindy Blevins
$4.99
4.66 €
#
Lap Steel Guitar
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How Great Thou Art, Solo for Lap Harp
#
Cindy Blevins
#
SheetMusicPlus
How Great Thou Art, Solo Harp
Harp
Arranged by Cindy Blevins. Christian, Praise & Worship, General Worship. Performance. Publ…
(+)
Arranged by Cindy Blevins. Christian, Praise & Worship, General Worship. Performance. Published by Cindy Blevins (S0.233419). - Performance - Christian,Praise & Worship,General Worship - Cindy Blevins
$1.99
1.86 €
#
Harp
#
How Great Thou Art, Solo Harp
#
Cindy Blevins
#
SheetMusicPlus
20 Easy Hymns and Spirituals, BOOK 1 (Beginner Piano Solos)
Easy Piano
Easy Piano - Level 1 - Digital Download SKU: A0.1374785 By Sharon Wilson. By Africa…
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Easy Piano - Level 1 - Digital Download SKU: A0.1374785 By Sharon Wilson. By African-American Spiritual, Elisha Albright Hoffman, Fanny J. Crosby, Georg C. Strattner, Horatio G. Spafford, John H. Stockton, Martin Luther, Philip P. Bliss, Rowland Hugh Prichard, and William J. Kirkpatrick. Arranged by Sharon Wilson. Children,Christian,Easter,Sacred,Spiritual. Score. 40 pages. Sharon Wilson #959316. Published by Sharon Wilson (A0.1374785). Beginner Piano SolosMiddle C PositionFive-Finger formatThis is a collection of 20 hymns and spirituals arranged for beginning piano students. These arrangements are formatted in the traditional five-finger style with the melody split between the hands and without key signatures. All 20 songs are written in Middle C Position where all notes are played singly centered around Middle C (diagrams are provided showing notes and finger placement). No fingering is notated on the sheet music to encourage students to learn to read the notes instead of using the fingering numbers to play the song. Thus, this collection makes a great sight-reading book, especially if some of the songs are unfamiliar. Some songs require playing the B-flat note in the left hand or the F-sharp note in the right hand. For the few songs that use one of these two black notes, the flats or sharps are displayed beside the note on the staff, not in the key signature (special diagrams are provided showing finger placement for the sharps and flats used).These arrangements are perfect for introducing classic Christian songs to beginning pianists. They can be used as supplementary repertoire for first year piano students. Lyrics are included for sing-along enjoyment.Song titles included in this collection: A Mighty FortressAlleluia! Sing to Jesus (HYFRYDOL)Blessed Be the NameFather, Lead Me Day by DayGlory to His NameHow Firm a FoundationI'm Gonna SingI've Got Peace Like a RiverIt Is Well with My SoulJesus Bids Us ShineJesus Is a Rock in a Weary LandNothing But the BloodOnly Trust Him RedeemedShall We Gather at the RiverThere Is a Happy LandWe Are Climbing Jacob's LadderWe Shall OvercomeWhat Heavenly MusicWhat a Wonderful SaviorVisit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$10.00
9.33 €
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Easy Piano
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Sharon Wilson
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20 Easy Hymns and Spirituals, BOOK 1
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Sharon Wilson
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SheetMusicPlus
Method for Trombone
Trombone
Trombone Solo - Digital Download SKU: A0.792269 Composed by Clarke, Ernest. Arrange…
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Trombone Solo - Digital Download SKU: A0.792269 Composed by Clarke, Ernest. Arranged by Cherry, Gordon. 20th Century,Instructional. Individual part. 113 pages. Gordon Cherry #4803727. Published by Gordon Cherry (A0.792269). The Clarke Method for Trombone has some uncommon features not found in other method books. 1. First, is the use of the key of C for the initial 33 exercises. The author then progresses through all of the keys, alternating the sharp (first) and flat keys through to six sharps and six flats by the end of exercise 155. 2. Secondly, there are no exercises devoted solely to minor keys. However, Clarke employs the minor mode in all of his exercises through the use of scales and arpeggios, so in fact the performer is receiving a steady diet of minor melody built in for him/her. 3. Thirdly, Clarke uses no metronome markings. He explains; each exercise should be practiced carefully over and over again until every difficulty is thoroughly overcome – until the exercise can be played through correctly – before going on to the next. His purpose is to avoid speeding through them. Clarke’s exercises are progressive throughout the keys, however each one starts out easily in order to keep the student focused on the new key and the new progression notes that come with it. For the advanced performer, this book is great to use as a way to ease back into shape after a rest from the instrument, allowing the performer to relearn the instrument carefully and methodically. I use it also for tone building, phrasing, and breath control. Throughout the book, Clarke reminds the performer to always produce a noble sound, stressing natural playing (without forcing) and relaxation. His phrase, the breath is the life of the tone, is a phrase that Remington used throughout his great teaching career as well. Clarke talks about tonguing, saying that, the tongue is used merely as an aid in articulating – not as a necessity... the tone does not depend on the tongue... the tongue should not be made too important...
$22.50
21 €
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Trombone
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Clarke, Ernest
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Method for Trombone
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Gordon Cherry
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SheetMusicPlus
20 Easy Hymns and Spirituals, BOOK 2 (Beginner Piano Solos)
Easy Piano
Easy Piano - Level 1 - Digital Download SKU: A0.1374779 By Sharon Wilson. By Africa…
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Easy Piano - Level 1 - Digital Download SKU: A0.1374779 By Sharon Wilson. By African-American Spiritual, Conrad Kocher, Edwin O. Excell, Fanny J. Crosby, Folk Song, George Job Elvey, Isaac Watts, John Bacchus Dykes, John Newton, Lelia Naylor Morris, Ludwig van Beethoven, and Robert Lowry. Arranged by Sharon Wilson. Christian,Easter,Folk,Holiday,Spiritual. Score. 41 pages. Sharon Wilson #959310. Published by Sharon Wilson (A0.1374779). Beginner Piano SolosMiddle C PositionFive-Finger formatThis is a collection of 20 hymns and spirituals arranged for beginning piano students. These arrangements are formatted in the traditional five-finger style with the melody split between the hands and without key signatures. All 20 songs are written in Middle C Position where all notes are played singly centered around Middle C (diagrams are provided showing notes and finger placement). No fingering is notated on the sheet music to encourage students to learn to read the notes instead of using the fingering numbers to play the song. Thus, this collection makes a great sight-reading book, especially if some of the songs are unfamiliar. Some songs require playing the B-flat note in the left hand or the F-sharp note in the right hand. For the few songs that use one of these two black notes, the flats or sharps are displayed beside the note on the staff, not in the key signature (special diagrams are provided showing finger placement for the sharps and flats used).These arrangements are perfect for introducing classic Christian songs to beginning pianists. They can be used as supplementary repertoire for first year piano students. Lyrics are included for sing-along enjoyment.Song titles included in this collection: Always CheerfulAmazing GraceCount Your BlessingsCrown Him with Many CrownsFootsteps of JesusFor the Beauty of the EarthHoly, Holy, HolyI Have Decided to Follow JesusI Shall Not Be MovedI'm So Glad Jesus Lifted MeJesus Shall ReignJoyful, Joyful, We Adore TheeNearer, Still NearerPeace Is Flowing Like a RiverStand Up! Stand Up for Jesus!Sweet By and ByThere Is Joy in That LandThis Little Light of MineWe Gather TogetherWhiter Than SnowVisit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$10.00
9.33 €
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Easy Piano
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Sharon Wilson
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20 Easy Hymns and Spirituals, BOOK 2
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Sharon Wilson
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SheetMusicPlus
Method for Trombone
Trombone
Trombone Solo - Level 2 - Digital Download SKU: A0.792163 Composed by Clarke, Ernes…
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Trombone Solo - Level 2 - Digital Download SKU: A0.792163 Composed by Clarke, Ernest. Arranged by Cherry, Gordon. Instructional. Individual part. 113 pages. Gordon Cherry #3820405. Published by Gordon Cherry (A0.792163). The Clarke Method for Trombone has some uncommon features not found in other method books.1. First, is the use of the key of C for the initial 33 exercises. The author then progresses through all of the keys, alternating the sharp (first) and flat keys through to six sharps and six flats by the end of exercise 155.2. Secondly, there are no exercises devoted solely to minor keys. However, Clarke employs the minor mode in all of his exercises through the use of scales and arpeggios, so in fact the performer is receiving a steady diet of minor melody built in for him/her.3. Thirdly, Clarke uses no metronome markings. He explains; each exercise should be practiced carefully over and over again until every difficulty is thoroughly overcome – until the exercise can be played through correctly – before going on to the next. His purpose is to avoid speeding through them.Clarke’s exercises are progressive throughout the keys, however each one starts out easily in order to keep the student focused on the new key and the new progression notes that come with it.For the advanced performer, this book is great to use as a way to ease back into shape after a rest from the instrument, allowing the performer to relearn the instrument carefully and methodically. I use it also for tone building, phrasing, and breath control. Throughout the book, Clarke reminds the performer to always produce a noble sound, stressing natural playing (without forcing) and relaxation. His phrase, the breath is the life of the tone, is a phrase that Remington used throughout his great teaching career as well. Clarke talks about tonguing, saying that, the tongue is used merely as an aid in articulating – not as a necessity... the tone does not depend on the tongue... the tongue should not be made too important...
$20.00
18.67 €
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Trombone
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Clarke, Ernest
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Method for Trombone
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Gordon Cherry
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SheetMusicPlus
Seven Dwarves: A Suite of Miniatures for Piccolo, Harpsichord and Percussion
Small Ensemble Flute,Harpsichord,Marimba,Multi-Percussion - Level 4 - Digital Download …
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Small Ensemble Flute,Harpsichord,Marimba,Multi-Percussion - Level 4 - Digital Download SKU: A0.836702 Composed by Brian Joyce. Contemporary. Score and parts. 45 pages. Brian Joyce #2897325. Published by Brian Joyce (A0.836702). It’s a brave musician who, armed only with a piccolo, is willing to walk onto a stage strewn with the assorted weaponry of a determined percussionist. One’s confidence can be shaken to the point of asking, who is the soloist here, anyway?But the rewards for courage are great: where else will you find bongos, a harpsichord and a piccolo performing together? How many times do you come across a military march in 3/4 time? In what other circumstances would Goldilocks intrude on the Seven Dwarves? What more could you ask?Percussion required (one player): marimba, glockenspiel, field drum, bongos, suspended cymbal with yarn sticks, sleigh bells, maracas (1 or 2, one hand).Piccolos required: one (1).The score assumes a five-octave double-manual harpsichord, but adjustments can be made to accommodate a single without appreciable harm to the music.The audio file accompanying this blurb features snippets of the 1st, 2nd, 4th, 6th and 7th movements. Performance time is approximately 12 minutes. Good luck!
$10.95
10.22 €
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Brian Joyce
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Seven Dwarves: A Suite of Miniatures for Piccolo, Harpsichord and Percussion
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Brian Joyce
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SheetMusicPlus
Sonata Hymnica No. 3
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.972647 Composed by James Siddons. A…
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Piano Solo - Level 4 - Digital Download SKU: A0.972647 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Blues,Concert,Jazz,Spiritual. Score. 12 pages. James Siddons Music and Writings #4350581. Published by James Siddons Music and Writings (A0.972647). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Sonata Hymnica No. 3 draws on two melodies from the African-American experience. One, Were You There (When They Crucified My Lord)? was first published in 1899 in W. E. Barton’s Old Plantation Hymns but existed earlier as a folk hymn. It became the first spiritual to be included in a major hymnal, The Hymnal 1940 of the Episcopal Church in the U.S.A. Sometimes I Feel Like a Motherless Child was sung by the Jubilee Singers of Fisk University from 1870 on, and was published in the Rev. Dr. Barton’s Old Plantation Hymns in 1899. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. Duration --- . Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50
8.87 €
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Piano solo
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James Siddons
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Sonata Hymnica No. 3
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James Siddons Music and Writings
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SheetMusicPlus
Sonata Hymnica No. 1
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.972645 Composed by James Siddons. A…
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Piano Solo - Level 4 - Digital Download SKU: A0.972645 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Score. 19 pages. James Siddons Music and Writings #4350561. Published by James Siddons Music and Writings (A0.972645). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. All three pedals on an American piano (damper, sostenuto, and sustain) are needed. The orchestral and cinematic structure of this music requires extensive use of three staffs, which may consist of two treble and one bass staff, or one treble and two bass staffs. In basic grand-staff passages, the two staffs may both be treble or both bass. The musical influences in these sonatas include religious song in rural America, the chromaticism and Expressionism of Arnold Schoenberg and his followers, and the tone colors of the music of Japanese composer Toru Takemitsu.DurationsSonata Hymnica No. 1 --- 15 minutes.Sonata Hymnica No. 2 --- 11 minutes. Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50
8.87 €
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Piano solo
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James Siddons
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Sonata Hymnica No. 1
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James Siddons Music and Writings
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SheetMusicPlus
Sonata Hymnica No. 2
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.972646 Composed by James Siddons. A…
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Piano Solo - Level 4 - Digital Download SKU: A0.972646 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Score. 17 pages. James Siddons Music and Writings #4350577. Published by James Siddons Music and Writings (A0.972646). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. All three pedals on an American piano (damper, sostenuto, and sustain) are needed. The orchestral and cinematic structure of this music requires extensive use of three staffs, which may consist of two treble and one bass staff, or one treble and two bass staffs. In basic grand-staff passages, the two staffs may both be treble or both bass. The musical influences in these sonatas include religious song in rural America, the chromaticism and Expressionism of Arnold Schoenberg and his followers, and the tone colors of the music of Japanese composer Toru Takemitsu. Durations Sonata Hymnica No. 1 --- 15 minutes.Sonata Hymnica No. 2 --- 11 minutes. Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50
8.87 €
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Piano solo
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James Siddons
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Sonata Hymnica No. 2
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James Siddons Music and Writings
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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
22.39 €
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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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