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I Got Rhythm: Part 2 - C Instruments
Sheetmusic to print
36 sheet music found
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I Got Rhythm: Part 2 - B-flat Instruments
Concert band
Concert Band - Digital Download SKU: AX.00-PC-0018499_PART2_BFLAT Instructional. 1 …
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Concert Band - Digital Download SKU: AX.00-PC-0018499_PART2_BFLAT Instructional. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0018499_PART2_BFLAT. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018499_PART2_BFLAT). UPC: 038081563671.
$3.00
2.76 €
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Concert band
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I Got Rhythm: Part 2 - B-flat Instruments
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
I Got Rhythm: Part 2 - F Instruments
Concert band
Concert Band - Digital Download SKU: AX.00-PC-0018499_PART2_F Instructional. 1 page…
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Concert Band - Digital Download SKU: AX.00-PC-0018499_PART2_F Instructional. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0018499_PART2_F. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018499_PART2_F). UPC: 038081563671.
$3.00
2.76 €
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Concert band
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I Got Rhythm: Part 2 - F Instruments
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
I Got Rhythm: Part 2 - E-flat Instruments
Concert band
Concert Band - Digital Download SKU: AX.00-PC-0018499_PART2_EFLAT Instructional. 1 …
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Concert Band - Digital Download SKU: AX.00-PC-0018499_PART2_EFLAT Instructional. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0018499_PART2_EFLAT. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018499_PART2_EFLAT). UPC: 038081563671.
$3.00
2.76 €
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Concert band
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I Got Rhythm: Part 2 - E-flat Instruments
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Gottes Macht und Vorsehung-Beethoven-string quartet
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.8…
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String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.845171 Composed by Ludwig van Beethoven. Arranged by Phil Beaman. Classical,Romantic Period,Sacred,Standards. Score and parts. 6 pages. Phil Beaman #6293609. Published by Phil Beaman (A0.845171). Gottes Macht und Vorsehung (God's Power and Providence) was composed by the Master, L. van Beethoven. It is the fifth of the Sechs Lieder (Six Songs), published in 1803, which foreshadowed the Art Songs of the Romantic Era. Originally for Voice and Piano, I have arranged it for Instrumental Quartet. My arrangement stays true to Beethoven's intent to capture the passion of the original text in the music. (The texts are all sacred poems by Gellert.) Without the presence of lyrics I needed to create musical interest and interpretation, so I realized inner voices and polyphony out of his original homophonic accompaniment. I added new shape to individual lines, altered phrasing, elaborated rhythms, and in true Beethoven style added more dynamic markings. The mood and meaning are now stunningly portrayed through music alone. Gottes Macht is an easy short piece full of strength and fire with a steady march pulse.
$7.99
7.34 €
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String Quartet: 2 violins, viola, cello
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Ludwig van Beethoven
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Gottes Macht und Vorsehung-Beethoven-string quartet
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Phil Beaman
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SheetMusicPlus
Die Ehre Gottes aus der Natur-Beethoven-string quartet
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.8…
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.845169 Composed by Ludwig van Beethoven. Arranged by Phil Beaman. Classical,Romantic Period,Sacred,Standards. Score and parts. 7 pages. Phil Beaman #6293581. Published by Phil Beaman (A0.845169). Die Ehres Gottes aus der Natur (The Glory of God in Nature) was composed by the Master, L. van Beethoven. It is the fourth of the Sechs Lieder (Six Songs), published in 1803, which foreshadowed the Art Songs of the Romantic Era. Originally for Voice and Piano, I have arranged it for Instrumental Quartet. My arrangement stays true to Beethoven's intent to capture the passion of the original text in the music. (The texts are all sacred poems by Gellert.) Without the presence of lyrics I needed to create musical interest and interpretation, so I realized inner voices and polyphony out of his original homophonic accompaniment. I added new shape to individual lines, altered phrasing, elaborated rhythms, and in true Beethoven style added more dynamic markings. The mood and meaning are now stunningly portrayed through music alone. Die Ehres Gottes is full of joyous majesty and wonder. It has been made into a popular anthem and hymn under the title The Heavens Are Telling. Â
$8.99
8.26 €
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String Quartet: 2 violins, viola, cello
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Ludwig van Beethoven
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Die Ehre Gottes aus der Natur-Beethoven-string quartet
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Phil Beaman
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SheetMusicPlus
I Got Rhythm
Instrumental Solo,Saxophone - Level 2 - Digital Download SKU: A0.1476038 Composed b…
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Instrumental Solo,Saxophone - Level 2 - Digital Download SKU: A0.1476038 Composed by George Gershwin. Arranged by SaxExpress. Blues,Jazz. Individual part. 2 pages. SaxExpress #1053587. Published by SaxExpress (A0.1476038). This is a Saxophone arrangement of ‘I Got Rhythm’ By George Gershwin. It uses the revolutionary Presto System which is a short cut to being able to easily play songs on the saxophone using a combination of music notation and Presto symbols. It is by far the simplest way to master songs on the saxophone. Within a very short period of time songs become incredibly easy to play. For more information on the 'Presto' system visit SaxExpress.com
$1.99
1.83 €
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George Gershwin
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George Gershwin
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I Got Rhythm
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SaxExpress
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SheetMusicPlus
I've Got My Love To Keep Me Warm
Choral 2-part
Choral Choir (SA) - Level 2 - Digital Download SKU: A0.784729 By Benny Goodman. By …
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Choral Choir (SA) - Level 2 - Digital Download SKU: A0.784729 By Benny Goodman. By Irving Berlin. Arranged by P. F. Tillen. Jazz. Octavo. 6 pages. PFTMusic #6621383. Published by PFTMusic (A0.784729). I've Got My Love to Keep Me Warm, a jazz standard and favorite for holiday and winter time, arranged here for a young or developing treble ensemble, mostly SA, with one phrase in a 3-part split. Brightly swinging, with accessible jazz rhythms and a piano accompaniment that's on the easy side. Suitable for a young treble choir, or an easily learned piece for a more advanced group, for your holiday or winter concert. Although it's not difficult, the sound is full and satisfying. Please check for more sacred and secular choral and vocal selections, piano music, and arrangements for instrumental ensembles.
$24.99
22.95 €
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Choral 2-part
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Benny Goodman
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I've Got My Love To Keep Me Warm
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PFTMusic
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SheetMusicPlus
What Was I Made For?
Piano solo
Instrumental Solo - Level 2 - Digital Download SKU: A0.1271184 By Billie Eilish. By…
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Instrumental Solo - Level 2 - Digital Download SKU: A0.1271184 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Thomas Gunther. Children,Contemporary,Film/TV. Individual part. 4 pages. Thomas Gunther Music Productions #863576. Published by Thomas Gunther Music Productions (A0.1271184). About the arrangement This is pianist/arranger Thomas Gunther's beautiful and highly accurate piano solo arrangement of the 2023 Barbie Movie features Billie Eilish's song WHAT I WAS MADE FOR.  It includes even Billie's quiet humming passages.This solo piano version can be played all by itself, or with Billie's recording of the song.It is easy enough to learn for pianists that have no amazing techniqual skills, but can be challanging in different ways, as explained below. From the Arranger Thomas Gunther  The most challenging task when writing this solo piano arrangement of What I Was Made For was to notate Billie's rhythm accurately. Her melodic rhythm is very important as it supports the flow of the lyrics perfectly. Notating a singer's rhythm can unfortunately never be 100% perfect (notation is by definition quantized), but I think I got very close. An other challenge was to get the accompaniment sound like the original without stepping on the melody notes. Looking at my final version I think it is as good as it gets for a piano adaption of this highly emotional song.I really hope all you Billie Eilish fans out there will enjoy playing this arrangement! How difficult is it As mentioned earlier, the song looks simple, but to play it well there is a lot of things the pianist has to take care of. The most challenging aspect is to sustain some notes by either using clever fingering or employing the sustain pedal. Also, dynamics are really important, especially when ballancing the accompaniment against the melody. Fingering I included fingering numbers to give the pianist a starting point. But fingering is a highly subjective affaire. Every pianist should feel free to adapt her/his own fingering as see fit. Sustain pedal usage The sustain pedal usage is very important in this arrangement (I included sustain pedal markings for this very reason). For one, it helps sustaining some notes that can't be held otherwise, and of course to make the sound fuller (more cinematic). It is important to use the pedal to create a sense of space (distance). After all, the original recording uses a lot of reverb to achieve that. Chord Symbols I did not include pop chord symbols because the harmony to the the song is very simple and based around 4 diatonic chords. It would just cludder up the score. At PopJazzKeys.com/Barbie I talk a little bit about the chords.
$5.99
5.5 €
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Piano solo
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Billie Eilish
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What Was I Made For?
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Thomas Gunther Music Productions
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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
22.03 €
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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
Two Dreams for solo Trombone and 8-part Percussion Ensemble
Percussion Ensemble
Percussion Ensemble - Level 5 - Digital Download SKU: A0.811252 Composed by Antonio…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.811252 Composed by Antonio J. Garcia. Contemporary,Jazz,Latin,World. Score and parts. 119 pages. Gordon Cherry #6549777. Published by Gordon Cherry (A0.811252). Two Dreams for Trombone and Percussion EnsembleDr. Justin Alexander (Director, VCU Percussion Ensemble) invited me to create a piece for trombone and percussion ensemble that had roles for more- and less-experienced players so that they could mix within the performance. I so enjoyed composing and performing this work. He estimates the overall difficulty grade of Movement I to be a three on a five-point scale and Movement II to be a four, with a grade four for the overall piece; but some players’ parts (within the eight total in the percussion ensemble) are indeed easier.The two Movements are approximately five minutes each.The first Movement Bilita Mpash (An Amazing Dream) calls for (1) shekeré/guiro; (2) 5-octave marimba (shared with...); (3) 5-octave marimba (shared with previous); (4) claves/drum set with mounted cowbell; (5) bell/mounted cowbell/congas; (6) hi-hat/suspended cymbal; (7) bass drum; and (8) four toms/maracas.The Second Movement (Running with the Tigers) calls for (1) xylophone; (2) vibraphone/glockenspiel; (3) 5-octave marimba; (4) drum set; (5) shaker/samba whistle/congas (opt. voice); (6) triangle/bell tree/hanging bells/agogo bells (opt. voice); (7) bass drum (opt. voice); and (8) Timpani (opt. voice). Pending difficulty levels, the conga and drum set parts can optionally be split among additional percussionists. The score notes offer a stage plot and many rehearsal tips.Bilita Mpash (An Amazing Dream)The 3-2 Rumba Clave anchors this movement, launched by the shekeré. Rhythmic vamps of multiple bars form the landscape over which the trombone’s melody emerges, followed by a move to double-time 2-3 Rumba Clave (with montuno) and back. The trombone soloist improvises without chordal accompaniment for a while so could reflect on the preceding harmonies or instead freely improvise with no concern as to chord changes, while a later section requires improv over chord changes. After the recap, a surprise tag of the ending phrase in Cha Cha sets up the rubato finish. Bilita Mpash (BILL-it-uh m-POSH) is a Bantu term for an amazing dream, a dream so good that it is the polar opposite of a nightmare-a dream in a blissful state where all is forgiven and forgotten2. Running with the TigersThe opening, written-out marimba solo is somewhat of a nod to vibist Gary Burton’s influence in bringing mallets towards the expression of modern jazz. A 9/8 samba-groove (5+4) transforms to 4/4. None of the percussionists have to have a jazz background, though the drum set player would be more challenged if not already exposed to Latin drumming. The improvised solo section could be all solo trombone or could be divided among various performers, including trading. The recap of the tune begins over 5/8 samba (3+2, later 2+3). The closing arrhythmic drum-set solo crescendos as the optional surprise of percussionists’ (or additional) voices sing at the end. The title of this movement refers to a recurring dream my dad would have, as well as to the active movements of my grandson when sleeping in his earliest years.-Antonio J. GarcÃaInstrumentation is for:Solo Trombone and 8-part Percussion Ensemble:shekeré/guiro, 2 5-octave marimbas, claves/drumset with cowbell, bell, congas, hi-hat, suspended cymbal, bass drum, toms, maracas, xylophone, vibraphone, glockenspiel, shaker, samba whistle, congas, triangle, bell tree, hanging bells, agogo bells, bass drum and timpani.This rhythmic and dramatic work includes improvisation by the Trombonist. Listen to the brilliant live performance featuring Mr. Garcia and the Virginia Commonwealth University Percussion Ensemble directed by Dr. Justin Alexander.
$50.00
45.92 €
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Percussion Ensemble
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Antonio J
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Two Dreams for solo Trombone and 8-part Percussion Ensemble
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Gordon Cherry
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SheetMusicPlus
Happy Place
Choral 2-part
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.873034 Composed by Sally Whi…
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.873034 Composed by Sally Whitwell. Pop. Octavo. 11 pages. Sally Whitwell #3869017. Published by Sally Whitwell (A0.873034). Composer’s Note - Happy PlaceI’m a lesbian who came-of-age/came-out in the mid 1990s, which means I caught the tail end of those lesbian stereotypes you used to hear about. It made me feel like I’d never inherited The Lesbian Gene. I was never one of the herbal tea sipping, yoga loving, hemp textiles wearing, hippie happy clappy campers of that time. I had girlfriends who were and I tried to humour them sometimes but it was always a strain.I had this one girlfriend who made me go camping once, a gathering with her hippie pagan friends. It was all inoffensive enough, I was having a very nice time sitting in the shade reading my book. Rather stupidly, I made the mistake of letting someone rope me into a thing called D​rumming The Boundary​. They thought I’d be good at it, being a professional musician. I thought it would probably please my girlfriend if I got involved, so I agreed to go along.To my surprise, the drums they’d set up were great instruments, some really top quality djembes that you’d be paying some good money for, so I made the rash assumption that the leader of this activity actually knew what she was doing. We were instructed to start drumming a h​eartbeat​ together, whereupon I discovered that these are people who couldn’t even play a plain old crotchet beat in ensemble. But they seemed to think they were playing in time, swooning and swaying and closing their eyes to ‘feel’ the music. It was starting to make me giggle. These were presumably the same lesbians I’d seen out in Sydney nightclubs who couldn’t dance in time with an electronic beat that repeatedly hits you over the head with its obviousness?! Once I’d had that thought, I couldn’t help my giggle becoming a full-blown guffaw. The dreadlocked hempy lady in charge glared at me, telling me I needed to relax into really f​eeling the heartbeat. ​Could she not see that it was because my whole body was shaking with hysterical laughter at their arhythmic playing? Honestly...I guess I just really don’t like hippies. There, I said it out loud. I tried, I tried really hard, but I just prefer my city life. It’s my ​Happy Place.​-- Sally Whitwell
$1.99
1.83 €
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Choral 2-part
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Sally Whitwell
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Happy Place
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Sally Whitwell
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SheetMusicPlus
I Got Rhythm by George Gershwin - Solo and Piano Accompaniment
George Gershwin - I Got Rhythm Digital Sheetmusic - instantly downloadable sheet music plu…
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George Gershwin - I Got Rhythm Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Part, instruments: Piano Accompaniment; 2 pages -- Jazz~~Jazz Standards~~Show/Broadway
$4.99
4.58 €
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Solo and Piano Accompaniment
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Musicnotes
Wrecking Ball
String Quartet: 2 violins, viola, cello
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.845973 By Miley …
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.845973 By Miley Cyrus. By Henry Walter, Lukasz Gottwald, Maureen McDonald, Sacha Skarbek, and Stephan Richard Moccio. Arranged by Kyle Pudenz. Contemporary,Pop. Score and parts. 34 pages. ViolinVagabond Music #5310843. Published by ViolinVagabond Music (A0.845973). Why settle for a bland transcription of Hannah Montana when you can have an action-packed, thrill-filled arrangement that's ALMOST as crazy as Miley Cyrus!? (almost)You've heard the song. You've seen the video. Whether or not you're a Miley super fan, you get the hype and that's why you're here. So take that hype to the next level with a chart that will make your audience go what on earth just happened? the same way Miley does on at least a bi-annual basis. By the way, I'll tell you what just happened: your quartet just came in like a wrecking ball, and smashed every archaic stereotype about classical string players to PIECES!!Gone are the days of strings not being able to feel the groove. Silenced are the cynics who once called us boring and one-dimensional. A new era is upon us, where violins, violas, & cellos can get up, get out, and rock the faces off of the proletariat right alongside our guitar slinging, drumstick twirling brethren! And this chart is just what you need to usher in this oh so bright future for all who rosin the bow:Right from the start, this arrangement takes a unique spin on Miley's pop smash, with a lopsided groove that will have your listeners searching frantically for a downbeat. Their urges will finally be satisfied when the melody takes us back to that oh-so-familiar feeling of 4/4 security... but don't get too comfortable, because when that chorus drops you'd better hold on to your hats. That's right, the train is leaving the station for double-time town! Along this musical journey, you may also encounter glimpses of reggae, jazz, & bluegrass, culminating in a race to the finish that will wre-e-eck any musician who didn't come ready to hang. Oh, and just for funsies I threw in that classic showbiz' moment where the cellist steals the melody, so feel free to ham that up as much as possible, cello players!This arrangement also makes use of modern extended string techniques in order to create rhythmic grooves without the need for additional instruments, including chopping and strum bowing. If you are unfamiliar with these concepts, various resources exist all over the internet to aid you in your quest towards having better time. I recommend this series, for example: https://youtu.be/kfX3kxjC93sPerformance time - 4:20... and if that doesn't make Miley Cyrus proud I don't know what will.Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond
$17.99
16.52 €
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String Quartet: 2 violins, viola, cello
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Miley Cyrus
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Wrecking Ball
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ViolinVagabond Music
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SheetMusicPlus
Last Night
Jazz Ensemble
Jazz Ensemble Jazz Ensemble - Level 2 - Digital Download SKU: A0.859769 Composed by…
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Jazz Ensemble Jazz Ensemble - Level 2 - Digital Download SKU: A0.859769 Composed by Charles Axton, Chips Moman, Floyd Newman, and Gilbert Caple. Arranged by Bandroom.com Publications. Contemporary,Pop,Rock. Score and Parts. 14 pages. Bandroom.com Publications #3905807. Published by Bandroom.com Publications (A0.859769). __________________________LAST NIGHT - arranged for pep band, basketball band, jazz combo, small jazz ensemble__________________________Great for pre/post-game, 60-second timeouts, or a quick half-time number, LAST NIGHT climbed to #3 on the Billboard Chart in 1961. An easy blend of R&B and rock, this tune is insanely easy (hence the low price), using only 3 different notes! You can make it even more fun by adding easy choreography for the winds - start with bells down, slowly rise during the crescendo, then alternate bells left, then right for each repeated measure.This 54-second arrangement has an easy key and the well-marked rehearsal numbers reduce the amount of time needed in rehearsal.Parts are formatted to fit in a flip-folder, but print on letter-sized paper if you prefer to use 3-ring binders._______________________The highly-flexible BcP-Flex scoring imitates the classic rock band sound by using only 4 instruments/voices - lead, rhythm, bass, and drums:Lead: Flute, Clarinets, Alto Sax, Trumpets (note: for this piece, everyone except bass line has a unison lead/rhythm part)Rhythm: Trombone, Horn, TC Baritone, Tenor Sax (note: for this piece, everyone except bass line has a unison lead/rhythm part)Bass: Electric Bass, Tuba, Bari SaxDrums: This arrangement includes a written drum set part, but it is often easier to get the drummer to pick-up the tune by listening to the chart._______________________To see these other high-energy titles in this series, click www.sheetmusicplus.com/search?Ntt=bcp-flex Barbara Ann (Beach Boys)Blitzkrieg Bop (Ramones)Blues Brothers Riff (I Can’t Turn You Loose - Otis Redding)Come & Get It (Selena Gomez)Grazing in the Grass (Hugh Masekela)Hey! Baby! (Bruce Channel)I Got You (I Feel Good) (James Brown)I Heard It Through The Grapevine (Marvin Gaye)Last Night (The Mar-Keys)Low Rider (War)Me! (Taylor Swift)My Sharona (The Knack)Oye Como Va (Santana)Peter Gunn (Mancini)Seven Nation Army (The White Stripes)Tequila (The Champs)That’s the Way I Like It (KC &The Sunshine Band)What Makes You Beautiful (One Direction)Wooly Bully (Sam the Sham and the Pharaohs)YMCA (Village People). . . . and a great, simple pep band setting of:The Star-Spangled Banner (USA National Anthem). __________________________.
$14.00
12.86 €
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Jazz Ensemble
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Charles Axton, Chips Moman, Floyd Newman, and Gilbert Caple
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Last Night
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Bandroom.com Publications
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SheetMusicPlus
If I Ain't Got You - PIANO SOLO
Clarinet Quartet: 4 clarinets
Clarinet, Full Score, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3 and Bb Bass Clarin…
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Clarinet, Full Score, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3 and Bb Bass Clarinet (same file) - Early Intermediate - Digital Download Composed by Thiago Osorio. Repertoire, Classroom, World, South American, Recital. Score, Set of Parts. 23 pages. Published by Thiago Osorio Music
In 2019, during my stay at Chapada dos Veadeiros in Goiás, Brazil, I went in search of the flavor of the local coffee. Xinguara was recommended to me, which inspired me to compose ten songs, this being the first composition in this series. In this version for Clarinet Quartet, the rhythmic and harmonic elements of these two genres, the baião and the maxixe, are mixed and result in an interesting conversation between the instruments, alternating their accompaniment and solo functions. A fun, uncomplicated piece that gives the listener the energy of a café in the Brazilian cerrado. Try it !!!
$9.99
9.18 €
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Clarinet Quartet: 4 clarinets
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Thiago Osorio
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If I Ain't Got You - PIANO SOLO
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Thiago Osorio Music
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SheetMusicPlus
Watermelon Man for Clarinet Quintet & Opt. Drumset
Clarinet Quintet: 5 clarinets
By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published…
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By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published by Music for all Occasions
Arranged for Clarinet Quintet & optional drumset, "Watermelon Man" is a jazz standard written by Herbie Hancock, first released on his debut album, Takin' Off (1962), in a grooving hard bop version that featured improvisations by Freddie Hubbard and Dexter Gordon.<br> <br> A single of the tune reached the Top 100 of the pop charts. Cuban percussionist Mongo Santamaría released the tune as a latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock's first version was released as a grooving hard bop record, and featured improvisations by Freddie Hubbard and Dexter Gordon. A single reached the Top 100 of the pop chart. Cuban percussionist Mongo Santamaría released the tune as a Latin pop single and it became a surprise hit, reaching No. 10 on the pop chart.[2] Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock wrote the piece to help sell his debut album as a leader, Takin' Off (1962), on Blue Note Records; it was the first piece of music he had ever composed with a commercial goal in mind. The popularity of the piece, due primarily to Mongo Santamaría, paid Hancock's bills for five or six years. Hancock did not feel the composition was a sellout however, describing that structurally, it was one of his strongest pieces due to its almost mathematical balance.<br> <br> The form is a sixteen bar blues. Recalling the piece, Hancock said, "I remember the cry of the watermelon man making the rounds through the back streets and alleys of Chicago. The wheels of his wagon beat out the rhythm on the cobblestones." The tune, based on a bluesy piano riff, drew on elements of R&B, soul jazz and bebop, all combined into a pop hook. Hancock joined bassist Butch Warren and drummer Billy Higgins in the rhythm section, with Freddie Hubbard on trumpet and Dexter Gordon on tenor saxophone. Hancock's chordal work draws from the gospel tradition, while he builds his solo on repeated riffs and trilled figures.<br> <br> Hancock filled in for pianist Chick Corea in Mongo Santamaría's band one weekend at a nightclub in The Bronx when Corea gave notice that he was leaving. Hancock played the tune for Santamaría at friend Donald Byrd's urging. Santamaría started accompanying him on his congas, then his band joined in, and the small audience slowly got up from their tables and started dancing, laughing and having a great time. Santamaría later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamaría recorded a three-minute version, suitable for radio, where he joined timbalero Francisco "Kako" Baster in a cha-cha beat, while drummer Ray Lucas performed a backbeat. Santamaría included the track on his album Watermelon Man (1962). Santamaría's recording is sometimes considered the beginning of Latin boogaloo, a fusion of Afro-Cuban rhythms with those of R&B<br> <br> Hancock re-recorded the tune for Head Hunters (1973), combining synthesizers with a Sly Stone and James Brown funk influence, adding an eight-bar section. Hancock described his composition "Chameleon", also from Head Hunters, to Down Beat magazine in 1979: "In the popular forms of funk, which I've been trying to get into, the attention is on the rhythmic interplay between different instruments. The part the Clavinet plays has to fit with the part the drums play and the line the bass plays and the line that the guitar plays. It's almost like African drummers where seven drummers play different parts"; "Watermelon Man" shares a similar construction. A live version was released on the double LP Flood (1975), recorded in Japan.<br> <br> On the intro and outro of the tune, percussionist Bill Summers blows into beer bottles imitating hindewhu, a style of singing/whistle-playing found in Pygmy music of Central Africa. Hancock and Summers were struck by the sound, which they heard on the ethnomusicology LP, The Music of the Ba-Benzélé Pygmies (1966), by Simha Arom and Geneviève Taurelle.<br> <br> This version was often featured on The Weather Channel's Local on the 8s segments.<br> <br> The tune is a jazz standard and has been recorded over two hundred times. Hancock's recording has been sampled in "1-900-LL-Cool-J" from Walking with a Panther (1989) by LL Cool J, "Open Your Eyes" from Organized Konfusion (1991) by Organized Konfusion, "Smoke Some Kill" from Smoke Some Kill (1988) by Schoolly D, and "Pocket Full of Furl" from Uptown 4 Life (1996) by U.N.L.V. In 2003, pianist David Benoit covered the song from his album Right Here, Right Now.<br> <br> A live and funky performance at the 1999 Montreux Jazz Festival Casino Lights '99 featured Fourplay, George Duke, Boney James and Kirk Whalum trading choruses, and Rick Braun.
$14.99
13.77 €
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Clarinet Quintet: 5 clarinets
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Herbie Hancock
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Watermelon Man for Clarinet Quintet & Opt. Drumset
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Music for all Occasions
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SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Baritone Horn & Piano
Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552847 Compos…
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Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552847 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468186. Published by jmsgu3 (A0.552847). J. S. Bach BWV 508  Score: 5 pages, Solo part: 1 page. Piano part: 2 pages. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo. He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.26 €
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Johann Sebastian Bach
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Bach: Bist du bei mir BWV 508 for Baritone Horn & Piano
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jmsgu3
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SheetMusicPlus
Birthday Suit
Instrumental Solo,Ney Flute,Oboe/English Horn - Level 5 - Digital Download SKU: A0.1122…
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Instrumental Solo,Ney Flute,Oboe/English Horn - Level 5 - Digital Download SKU: A0.1122089 Composed by Igor Korneitchouk. Arranged by Drake Mabry, Igor Korneitchouk. 20th Century,Contemporary. Individual part. 19 pages. Studio at the Post #723162. Published by Studio at the Post (A0.1122089). Duration: 10 minutes, 16 pp. Description: In speaking of his recitation of his Four Quartets on phonograph, T. S. Eliot says: A recording of a poem by its author is no more definitive an 'interpretation' than a recording of a symphony conducted by the composer. The poem, if it is of any depth and complexity, will have meanings in it concealed from the author; and should be capable of being read in many ways, and with a variety of emotional emphasis.... Another reader, reciting the poem, need not feel bound to reproduce these rhythms: but, if he has studied the author's version, he can assure himself that he is departing from it deliberately, and not from ignorance. The composer could not have stated his intentions towards this piece better than to quote T. S. Eliot. No note or inflection is fixed in stone that it cannot be negotiated, changed to better suit the needs of the performer. This is especially true of the first movement which is composed around sections of the first of Eliot's Four Quartets (Burnt Norton), but applies generally to the whole piece. Much of the notation in this piece is meant to be suggestive. The performer may take a highly faithful approach to realizing the score, or consider the movements as models for directed improvisation. Movement 2, for example, asks the performer to continue to improvise in like manner, yet maps out a clear design for the music. Birthday Suit is dedicated to Robert S. Howe, a friend and obstetrician who welcomes into this world many people in their birthday suits. That is the most obvious reason for the title of this piece. A reason more germane to the music itself is the piece's reliance on the performer's own natural body rhythms (such as speech rhythms, involuntary eye movements, and rate of breathing) to help organize the flow of the music. In this way both metabolism and the written note cooperate to make music. There are three movements, Rhythm of Speech - Rhythm of Sight - Rhythm of Breath. Total 10 minutes. (Audio Sample of movement I is for oboe; YouTube Link of movement III is an arrangement for the Turkish ney.).
$2.01
1.85 €
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Igor Korneitchouk
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Birthday Suit
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Studio at the Post
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SheetMusicPlus
South Bay Angle for violin and piano
Violin and Piano
Instrumental Solo,Piano,Violin - Level 5 - Digital Download SKU: A0.987851 Composed…
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Instrumental Solo,Piano,Violin - Level 5 - Digital Download SKU: A0.987851 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 29 pages. Robert M. Greenberg #100609. Published by Robert M. Greenberg (A0.987851). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 6 1/2 minutes Year of composition: 2011 Program Note: Titles, like mold-scum atop month-old cottage cheese, can take on a life of their own. South Bay Angle was originally composed in 1991 during an Astor Piazzolla-inspired fit of tango-madness. While a more appropriate title for the piece would have been something on the lines of I Can Write One of Those! or This Gringo’s Token Tango, circumstances conspired in another titular direction. The piece was originally intended for performance on a program produced by Composers, Inc., a new-music collective in which I was (and remain) an artistic director. Composers Inc. was then in its seventh season. In those days when newspapers still mattered, Composers, Inc. sought to receive as many print reviews as possible. To that end, the organization invited Paul Hertelendy - who was then the music critic for the San Jose Mercury News - to cover its concerts. He said he would do so provided that there was some sort of south-bay angle which addressed the specific needs of his south-bay readership. Thinking myself clever, I thus entitled the piece South Bay Angle. Hertelandy would get his angle and Composers, Inc. would get its coverage. It didn’t work out that way. The piece was never performed; Hertelendy never got his angle; and Composers, Inc. never received a review from the San Jose Mercury News. Instead, twenty years later, I returned to South Bay Angle and rewrote it from the ground up. The piece is cast as a large-scale A-B-A form. The violin is a willing participant in the tango during the A sections, but a rather reluctant tangoista in the B section, during which it tries mightily to turn the music into a waltz. It does not succeed, and the piece ends as it began, in a blaze of rhythmic fury.
$28.00
25.72 €
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Violin and Piano
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Robert M
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South Bay Angle for violin and piano
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Robert M. Greenberg
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SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Contrabassoon & Piano
Contrabassoon,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.549233 C…
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Contrabassoon,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.549233 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Easter,Standards,Wedding. Score and individual part. 9 pages. Jmsgu3 #3468784. Published by jmsgu3 (A0.549233). J. S. Bach BWV 508. This arrangement features a specially revised custom accompaniment part that avoids unwanted collisions with the contrabassoon and revoices chords to avoid awkward doublings and other voice-leading problems. It accentuates the solo part very nicely. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. Â
$32.95
30.26 €
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Johann Sebastian Bach
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Bach: Bist du bei mir BWV 508 for Contrabassoon & Piano
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jmsgu3
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SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Piccolo & Piano
Instrumental Solo,Piano,Piccolo - Level 2 - Digital Download SKU: A0.549238 Compose…
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Instrumental Solo,Piano,Piccolo - Level 2 - Digital Download SKU: A0.549238 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Easter,Standards,Wedding. Score and individual part. 9 pages. Jmsgu3 #3469232. Published by jmsgu3 (A0.549238). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined. Â
$32.95
30.26 €
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Johann Sebastian Bach
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Bach: Bist du bei mir BWV 508 for Piccolo & Piano
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jmsgu3
#
SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Trombone & Piano
Trombone and Piano
Piano,Trombone - Level 2 - Digital Download SKU: A0.549221 Composed by Johann Sebas…
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Piano,Trombone - Level 2 - Digital Download SKU: A0.549221 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468176. Published by jmsgu3 (A0.549221). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined. Â
$32.95
30.26 €
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Trombone and Piano
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Johann Sebastian Bach
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Bach: Bist du bei mir BWV 508 for Trombone & Piano
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jmsgu3
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SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Flute & Piano
Flute and Piano
Flute,Piano - Level 2 - Digital Download SKU: A0.549224 Composed by Johann Sebastia…
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Flute,Piano - Level 2 - Digital Download SKU: A0.549224 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468208. Published by jmsgu3 (A0.549224). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.26 €
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Flute and Piano
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Johann Sebastian Bach
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Bach: Bist du bei mir BWV 508 for Flute & Piano
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jmsgu3
#
SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Trumpet & Piano
Trumpet
B-Flat Trumpet,Piano - Level 2 - Digital Download SKU: A0.549220 Composed by Johann…
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B-Flat Trumpet,Piano - Level 2 - Digital Download SKU: A0.549220 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468158. Published by jmsgu3 (A0.549220). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and indeed the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.26 €
#
Trumpet
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Johann Sebastian Bach
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Bach: Bist du bei mir BWV 508 for Trumpet & Piano
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jmsgu3
#
SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Euphonium & Piano
Euphonium, Piano (duet)
Euphonium,Piano - Level 2 - Digital Download SKU: A0.549222 Composed by Johann Seba…
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Euphonium,Piano - Level 2 - Digital Download SKU: A0.549222 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468180. Published by jmsgu3 (A0.549222). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.26 €
#
Euphonium, Piano (duet)
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Johann Sebastian Bach
#
Bach: Bist du bei mir BWV 508 for Euphonium & Piano
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jmsgu3
#
SheetMusicPlus
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