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In Rest and Contentment
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In Rest and Contentment
Brass Ensemble Euphonium,Tuba - Level 4 - Digital Download SKU: A0.840344 Composed …
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Brass Ensemble Euphonium,Tuba - Level 4 - Digital Download SKU: A0.840344 Composed by George Frediric Handel. Arranged by Glen D. Lienhart. Baroque. Score and parts. 35 pages. Glen D. Lienhart #4993867. Published by Glen D. Lienhart (A0.840344). Grade IV tuba/euphonium quartet or choir. Includes several alternate parts.
$12.00
10.98 €
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George Frediric Handel
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In Rest and Contentment
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Glen D. Lienhart
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SheetMusicPlus
Monggeumpo Taryeong (For Violin and Piano)
Violin and Piano
Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 4 - Digital Download SKU…
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Instrumental Duet,Piano Instrumental Duet,Piano,Violin - Level 4 - Digital Download SKU: A0.1404954 By Traditional. By Han-Ki Kim. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Standards,Traditional. 14 pages. Han-Ki Kim #987990. Published by Han-Ki Kim (A0.1404954). Folk songs are traditional songs that are passed down among the general public. It reflects the culture, customs, and emotions of each region and has diverse content and rhythm. “Monggeumpo Taryeong(It is also called “Jangsangot Taryeong)†is a traditional Korean folk song handed down from the Hwanghae region. “Monggeumpo†is a port, and the beach here is famous for its white sandy beaches, lush forests, and Rosa rugosa flowers. The content of this folk song consists of a sad melody and lyrics, and it contains the joys and sorrows of the fishermen's lives and the sorrowful feelings waiting for the safe return of a loved one who went out to catch fish. This music was composed in the A-B-A format. The sad part is located in the middle of the music, and the beginning and end parts were composed in an exciting atmosphere. It is usually played to the traditional Korean “jungmori†rhythm, which is also quoted throughout the piece. Attached music file is just for a reference.
$18.50
16.92 €
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Violin and Piano
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Traditional
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Monggeumpo Taryeong
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Han-Ki Kim
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SheetMusicPlus
Rest Content (30-Piece Digital Pack)
Concert band
Concert Band - Digital Download SKU: HX.470031 Composed by Edward Fairlie. This edi…
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Concert Band - Digital Download SKU: HX.470031 Composed by Edward Fairlie. This edition: scorch. Inspirational. 1 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.470031).
Digital Pack includes
:
Rest Content - Bb Clarinet 1
Rest Content - Oboe
Rest Content - Bb Clarinet 3
Rest Content - Bb Bass Clarinet
Rest Content - Conductor Score (Full Score)
Rest Content - Eb Alto Saxophone 1
Rest Content - Bb Clarinet 2
Rest Content - Flute 1
Rest Content - Flute 2
Rest Content - Bassoon 1
Rest Content - Piccolo
Rest Content - Bassoon 2
Rest Content - Eb Alto Saxophone 2
Rest Content - Bb Trumpet 2
Rest Content - Bb Trumpet 3
Rest Content - Bb Tenor Saxophone
Rest Content - Horn in F
Rest Content - Eb Baritone Sax
Rest Content - Bb Trumpet 1
Rest Content - Trombone 1
Rest Content - Trombone 3
Rest Content - Euphonium B.C.
Rest Content - Euphonium T.C.
Rest Content - Percussion 3
Rest Content - Percussion 1
Rest Content - Tuba
Rest Content - Trombone 2
Rest Content - Percussion 2
Rest Content - String Bass
Rest Content - Percussion 4
$85.00
77.75 €
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Concert band
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Edward Fairlie
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Rest Content
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Hal Leonard - Digital
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SheetMusicPlus
Monggeumpo Taryeong (For Viola and Piano)
Viola, Piano
Instrumental Duet,Piano Instrumental Duet,Piano,Viola - Level 4 - Digital Download SKU:…
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Instrumental Duet,Piano Instrumental Duet,Piano,Viola - Level 4 - Digital Download SKU: A0.1405009 By Traditional. By Han-Ki Kim. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Standards,Traditional. 14 pages. Han-Ki Kim #988044. Published by Han-Ki Kim (A0.1405009). Folk songs are traditional songs that are passed down among the general public. It reflects the culture, customs, and emotions of each region and has diverse content and rhythm. “Monggeumpo Taryeong(It is also called “Jangsangot Taryeong)†is a traditional Korean folk song handed down from the Hwanghae region. “Monggeumpo†is a port, and the beach here is famous for its white sandy beaches, lush forests, and Rosa rugosa flowers. The content of this folk song consists of a sad melody and lyrics, and it contains the joys and sorrows of the fishermen's lives and the sorrowful feelings waiting for the safe return of a loved one who went out to catch fish. This music is composed in the A-B-A format. The sad part is located in the middle of the music, and the beginning and end parts were composed in an exciting atmosphere. It is usually played to the traditional Korean “jungmori†rhythm, which is also quoted throughout the piece. The attached music file was played on the violin and only the first part was played. This is just for reference.
$18.50
16.92 €
#
Viola, Piano
#
Traditional
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Monggeumpo Taryeong
#
Han-Ki Kim
#
SheetMusicPlus
Monggeumpo Taryeong (For Cello and Piano)
Instrumental Duet,Piano Cello,Instrumental Duet,Piano - Level 4 - Digital Download SKU:…
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Instrumental Duet,Piano Cello,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.1405010 By Traditional. By Han-Ki Kim. Arranged by Han-Ki Kim. Chamber,Classical,Instructional,Standards,Traditional. 14 pages. Han-Ki Kim #988046. Published by Han-Ki Kim (A0.1405010). Folk songs are traditional songs that are passed down among the general public. It reflects the culture, customs, and emotions of each region and has diverse content and rhythm. “Monggeumpo Taryeong(It is also called “Jangsangot Taryeong)†is a traditional Korean folk song handed down from the Hwanghae region. “Monggeumpo†is a port, and the beach here is famous for its white sandy beaches, lush forests, and Rosa rugosa flowers. The content of this folk song consists of a sad melody and lyrics, and it contains the joys and sorrows of the fishermen's lives and the sorrowful feelings waiting for the safe return of a loved one who went out to catch fish. This music is composed in the A-B-A format. The sad part is located in the middle of the music, and the beginning and end parts were composed in an exciting atmosphere. It is usually played to the traditional Korean “jungmori†rhythm, which is also quoted throughout the piece. The attached music file was played on the violin and only the first part was played. This is just for reference.
$18.50
16.92 €
#
Traditional
#
Monggeumpo Taryeong
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Han-Ki Kim
#
SheetMusicPlus
In the King's Forest
Concert band
Concert Band - Level 1 - Digital Download SKU: A0.1216222 Composed by Jordan R. Saw…
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Concert Band - Level 1 - Digital Download SKU: A0.1216222 Composed by Jordan R. Sawyer. Classical. Score and Parts. 27 pages. J.R. Sawyer #812830. Published by J.R. Sawyer (A0.1216222). In the King’s Forest is broken into Three distinct settings, all using the same melody based on the introductory fanfare-like melody. The first setting is at the edge of the forest and is light and more thinly arranged, focusing on the upper voices. The second setting is further into the forest and uses the same melody in the mid voices, but harmonized more heavily. The third setting is deep in the forest and the melody shifts from Bb Major to C Minor and is the most densely arranged. We break through the forest to the other side with a return of the intro fanfare and ends with a triumphant sequence of main theme back in Bb Major. Using the first six notes of the Bb Scale and simple rhythmic figures, In the King’s Forest offers young band students a chance to perform and connect to mature musical content.
$15.00
13.72 €
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Concert band
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Jordan R
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In the King's Forest
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J.R. Sawyer
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SheetMusicPlus
Rest sweet nymphs for flute and guitar
Flute and Guitar
Instrumental Duet Flute,Guitar,Instrumental Duet - Level 2 - Digital Download SKU: A0.5…
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Instrumental Duet Flute,Guitar,Instrumental Duet - Level 2 - Digital Download SKU: A0.576638 Composed by Francis Pilkington. Arranged by David Warin Solomons. Renaissance. Score and parts. 1 pages. David Warin Solomons #44817. Published by David Warin Solomons (A0.576638). Instrumental arrangement of a Renaissance song. Versions for flute, cor anglais, viola, cello or clarinet with guitar are available and also versions with the original words for voice and guitar (in C minor and also in D minor) The words of the first verse are: Rest, sweet nymphs, let golden sleep Charm your star brighter eyes, While my lute the watch doth keep With pleasing sympathies. Lulla, lullaby. Lulla, lullaby. Sleep sweetly, sleep sweetly, Let nothing affright ye, In calm contentments lie.
$5.00
4.57 €
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Flute and Guitar
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Francis Pilkington
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Rest sweet nymphs for flute and guitar
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David Warin Solomons
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SheetMusicPlus
The Flowers of the Forest
Marching band
Marching Band - Level 2 - Digital Download SKU: A0.883504 Arranged by Garry Anderso…
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Marching Band - Level 2 - Digital Download SKU: A0.883504 Arranged by Garry Anderson. Celtic,Contemporary,Folk,Sacred,World. Score and parts. 19 pages. Garry Anderson #3213463. Published by Garry Anderson (A0.883504). This is a Pipe and band arrangement of an ancient Scottish folk tune which commemorates the defeat of the Scottish army of James IV at the Battle of Flodden in Septembe 1513. This song is traditional perform privately at funerals and memorial services due to the content, and is a very moving piece for remembering those that have fallen. .
$10.00
9.15 €
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Marching band
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The Flowers of the Forest
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Garry Anderson
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SheetMusicPlus
Liebestraum no. 3 (Piano 4-hands)
1 Piano, 4 hands
Instrumental Duet Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.967322
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Instrumental Duet Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.967322 Composed by Franz Liszt. Arranged by Scott Meek. Contemporary,Romantic Period. Score and parts. 15 pages. Scott Meek #6065423. Published by Scott Meek (A0.967322). An arrangement of Franz Liszt's beloved Liebestraum no. 3 (A Dream of Love) for piano duet, in a modern style. There is a short introduction featuring a fragment of the main theme, before the main theme enters. The rest of the arrangement preserves most of the original's melodic and rhythmic content, with some altered jazz-influenced harmonies and added countermelodies and textures. Please visit our social media!https://linktr.ee/themeeksduo
$9.99
9.14 €
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1 Piano, 4 hands
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Franz Liszt
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Liebestraum no. 3
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Scott Meek
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SheetMusicPlus
Breeze for Flute and Piano (2023)
Flute and Piano
Flute,Piano - Level 5 - Digital Download SKU: A0.1316351 By Iva Ugrcic, flute and S…
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Flute,Piano - Level 5 - Digital Download SKU: A0.1316351 By Iva Ugrcic, flute and Satoko Hayami, piano. By Mary Ellen Haupert (b. 1960). 21st Century,Chamber,Classical. Score and part. 8 pages. Mary Ellen Haupert #905092. Published by Mary Ellen Haupert (A0.1316351). “Breeze†for Flute and Piano (2023) by Mary Ellen Haupert (b.1960)“Breeze†was written for flutist Iva UgrÄić and pianist Satoko Hayami for the Out of Our Minds Chamber Music performance of music by women composers on November 4, 2023. The work was inspired by the sounds of lapping water, loon calls, and wind carried off the shores of Minnesota’s Lake Pokegama, where our family has a summer cabin. Loons are social migratory birds that communicate with each other via wails (calls to one another), tremolos (warnings to others about impending danger), yodels (territorial demonstrations), and coo-ing (quiet contentment). The opening of “Breeze†is a yodel in D Major that dissolves into a lapping piano accompaniment – the backdrop for a measured loon soliloquy. The piano restates the loon tune with the flute echoing in canon.The loon echoes dissipate in an undulating transition to a B section featuring the traditional Irish tune, St. Columba, first published by George Petrie in 1855. The tune is presented in D Mixolydian over a repeated bass line that is meant to evoke the rhythmic paddling of a canoe. As the tune ends, the “loons†pick up their own improvisation over the bass line, again in canon. There are only slight alterations in the closing section, casting “Breeze†in a balanced ABA’ form.
$10.00
9.15 €
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Flute and Piano
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Iva Ugrcic, flute and Satoko Hayami, piano
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Breeze for Flute and Piano
#
Mary Ellen Haupert
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SheetMusicPlus
Breeze for Flute and Piano - FLUTE (2023)
Flute and Piano
Flute,Piano - Digital Download SKU: A0.1316354 By Iva Ugrcic, flute and Satoko Haya…
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Flute,Piano - Digital Download SKU: A0.1316354 By Iva Ugrcic, flute and Satoko Hayami, piano. By Mary Ellen Haupert. 21st Century,Chamber,Classical. Score and part. 3 pages. Mary Ellen Haupert #905095. Published by Mary Ellen Haupert (A0.1316354). “Breeze†for Flute and Piano (2023) by Mary Ellen Haupert (b.1960)“Breeze†was written for flutist Iva UgrÄić and pianist Satoko Hayami for the Out of Our Minds Chamber Music performance of music by women composers on November 4, 2023. The work was inspired by the sounds of lapping water, loon calls, and wind carried off the shores of Minnesota’s Lake Pokegama, where our family has a summer cabin. Loons are social migratory birds that communicate with each other via wails (calls to one another), tremolos (warnings to others about impending danger), yodels (territorial demonstrations), and coo-ing (quiet contentment). The opening of “Breeze†is a yodel in D Major that dissolves into a lapping piano accompaniment – the backdrop for a measured loon soliloquy. The piano restates the loon tune with the flute echoing in canon.The loon echoes dissipate in an undulating transition to a B section featuring the traditional Irish tune, St. Columba, first published by George Petrie in 1855. The tune is presented in D Mixolydian over a repeated bass line that is meant to evoke the rhythmic paddling of a canoe. As the tune ends, the “loons†pick up their own improvisation over the bass line, again in canon. There are only slight alterations in the closing section, casting “Breeze†in a balanced ABA’ form.
$5.00
4.57 €
#
Flute and Piano
#
Iva Ugrcic, flute and Satoko Hayami, piano
#
Breeze for Flute and Piano - FLUTE
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Mary Ellen Haupert
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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
21.94 €
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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
Rest Content - Horn in F
French horn (band part)
Concert Band - Digital Download SKU: HX.470020 Composed by Edward Fairlie. This edi…
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Concert Band - Digital Download SKU: HX.470020 Composed by Edward Fairlie. This edition: scorch. Inspirational. 1 pages. Duration 360. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.470020).
$6.00
5.49 €
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French horn (band part)
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Edward Fairlie
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Rest Content - Horn in F
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Hal Leonard - Digital
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SheetMusicPlus
Rest sweet nymphs for clarinet and guitar
Clarinet, Guitar (duet)
Instrumental Duet Clarinet,Guitar,Instrumental Duet - Digital Download SKU: A0.576636
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Instrumental Duet Clarinet,Guitar,Instrumental Duet - Digital Download SKU: A0.576636 Composed by Francis Pilkington. Arranged by David Warin Solomons. Renaissance. Score and parts. 1 pages. David Warin Solomons #44813. Published by David Warin Solomons (A0.576636). Instrumental arrangement of a Renaissance song. Versions for flute, cor anglais, viola, cello or clarinet with guitar are available and also versions with the original words for voice and guitar (in C minor and also in D minor) The words of the first verse are: Rest, sweet nymphs, let golden sleep Charm your star brighter eyes, While my lute the watch doth keep With pleasing sympathies. Lulla, lullaby. Lulla, lullaby. Sleep sweetly, sleep sweetly, Let nothing affright ye, In calm contentments lie.
$5.00
4.57 €
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Clarinet, Guitar (duet)
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Francis Pilkington
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Rest sweet nymphs for clarinet and guitar
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David Warin Solomons
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SheetMusicPlus
Rest sweet nymphs for cor anglais and guitar
English Horn, Guitar (duet)
Instrumental Duet English Horn,Guitar,Instrumental Duet - Level 2 - Digital Download SK…
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Instrumental Duet English Horn,Guitar,Instrumental Duet - Level 2 - Digital Download SKU: A0.576637 Composed by Francis Pilkington. Arranged by David Warin Solomons. Renaissance. Score and parts. 1 pages. David Warin Solomons #44815. Published by David Warin Solomons (A0.576637). Instrumental arrangement of a Renaissance song. Versions for flute, cor anglais, viola, cello or clarinet with guitar are available and also versions with the original words for voice and guitar (in C minor and also in D minor) The words of the first verse are: Rest, sweet nymphs, let golden sleep Charm your star brighter eyes, While my lute the watch doth keep With pleasing sympathies. Lulla, lullaby. Lulla, lullaby. Sleep sweetly, sleep sweetly, Let nothing affright ye, In calm contentments lie.
$5.00
4.57 €
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English Horn, Guitar (duet)
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Francis Pilkington
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Rest sweet nymphs for cor anglais and guitar
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David Warin Solomons
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SheetMusicPlus
Rest sweet nymphs for viola and guitar
Viola, Guitar (duet)
Instrumental Duet Guitar,Instrumental Duet,Viola - Level 2 - Digital Download SKU: A0.5…
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Instrumental Duet Guitar,Instrumental Duet,Viola - Level 2 - Digital Download SKU: A0.576639 Composed by Francis Pilkington. Arranged by David Warin Solomons. Renaissance. Score and parts. 1 pages. David Warin Solomons #44819. Published by David Warin Solomons (A0.576639). Instrumental arrangement of a Renaissance song. Versions for flute, cor anglais, viola, cello or clarinet with guitar are available and also versions with the original words for voice and guitar (in C minor and also in D minor) The words of the first verse are: Rest, sweet nymphs, let golden sleep Charm your star brighter eyes, While my lute the watch doth keep With pleasing sympathies. Lulla, lullaby. Lulla, lullaby. Sleep sweetly, sleep sweetly, Let nothing affright ye, In calm contentments lie.
$5.00
4.57 €
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Viola, Guitar (duet)
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Francis Pilkington
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Rest sweet nymphs for viola and guitar
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David Warin Solomons
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SheetMusicPlus
Finnish National Anthem for String Orchestra
String Orchestra - Level 3 - Digital Download SKU: A0.1511019 Composed by Fredrik P…
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String Orchestra - Level 3 - Digital Download SKU: A0.1511019 Composed by Fredrik Pacius(1809-1891). Arranged by Keith Terrett. Instructional,Multicultural,Patriotic,Praise & Worship,Traditional,World. 8 pages. Keith Terrett #811977. Published by Keith Terrett (A0.1511019). An arrangement for String Orchestra of the national anthem of Finland. There are also versions for Brass Quintet & Symphony Orchestra in my two stores.Maamme (Finnish: [ˈmɑːmːe]) or Vårt land (Finland Swedish: [ˈvoːrt ˈlɑnːd]; both meaning Our Land) is Finland's national anthem. The music was composed by the German immigrant Fredrik Pacius, with (original Swedish) words by Johan Ludvig Runeberg, and with this music it was performed for the first time on 13 May 1848. Originally it was written for the 500th anniversary of Porvoo and for that occasion it was Runeberg himself who wrote the music.The poem has been influenced by the Szózat (Appeal) of Mihály Vörösmarty, both in style and content.[The melody of Maamme is also used for the national anthem of Estonia with a similarly themed text, Mu isamaa, mu õnn ja rõõm (My Fatherland, My Happiness and Joy, 1869).It is also considered to be the ethnic anthem for the Livonians as Min izāmō (My Fatherland).The original poem, written in 1846 but not printed until 1848, had 11 stanzas and formed the prologue to the verse cycle The Tales of Ensign Stål (Fänrik Ståhls Sägner), a classic example of Romantic nationalism. The current Finnish language text is usually attributed to the 1889 translation of Ensign Stål by Paavo Cajander, but in fact originates from the 1867 translation by Julius Krohn.The Tales of Ensign Stål were much appreciated throughout all of Scandinavia. Up until the time of Finland's independence in 1917 and 1918, when the song began to be recognized as specifically applying to Finland, Pacius's tune and Runeberg's text were often also sung in Denmark, Norway, and Sweden. Note that in the original Swedish text there is no reference to Finland (except for in verses 4 and 10, which are rarely sung), only to a country in the north, but the Finnish text explicitly refers to Finland. The poem's theme is, furthermore, remarkably similar to that of the national anthems of Sweden (Du gamla, Du fria) and Norway (Ja, vi elsker dette landet).[citation needed]There is no law regarding an official national anthem in Finland, in the way the coat of arms and flag of Finland are legally defined. Instead its position has been established gradually by convention over the years.Today, Maamme is firmly established by convention. Children learn it in school; in formal occasions it is sung both in Finnish and in Swedish. It is played at sporting events, such as the Olympics. In the 1880s and in the 1920s there were more attempts to replace it with a Finnish language version but these ceased by the 1930s. Some Finns have proposed that the Finnish national anthem be changed to Finlandia by Jean Sibelius, with lyrics by V.A. Koskenniemi (Finnish) and Joel Rundt (Swedish). There are also those who simply prefer Finlandia as a musical piece, although critics claim that it is difficult to sing.[citation needed]It is said that Pacius composed the tune in four days. It was popular throughout the 19th century, but established as national anthem only after Pacius' death.The melody of Maamme has similarities with the German drinking song Papst und Sultan. Many believe that Fredrik Pacius intentionally or unintentionally copied parts of the tune. Another Finnish patriotic song, Sotilaspoika, composed by Pacius, also includes similarities with Papst und Sultan.[citation needed]During 1993, an instrumental version of Maamme was used as Finnish professional wrestler Tony Halme's (under the ring name Ludvig Borga) entrance theme Love anthems, then join me on twitter, facebook, instagram & soundcloud for updates.
$8.99
8.22 €
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Fredrik Pacius(1809-1891)
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Finnish National Anthem for String Orchestra
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Keith Terrett
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SheetMusicPlus
Microludes for Flute and Bb Clarinet
Flute, Clarinet (duet)
Instrumental Duet Clarinet,Flute,Instrumental Duet - Level 4 - Digital Download SKU: A0…
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Instrumental Duet Clarinet,Flute,Instrumental Duet - Level 4 - Digital Download SKU: A0.1026330 Composed by Jason Anthony Gomez. 20th Century,Contemporary. Score and parts. 15 pages. Jason Anthony Gomez #6092107. Published by Jason Anthony Gomez (A0.1026330). I started writing these movements as exercises in melody and motivic economy with a reduced ensemble, but as I shared the MIDI recordings on Instagram they got a lot of interest from various players who wanted to perform them. The feedback was positive enough that I decided to tidy up the score, and make them available to performers. The term microlude was originally coined by Hungarian Composer Gyorgy Kurtag, whose Hommage à Mihály András, 12 microludes for string quartet became revolutionary in demonstrating the capabilities of short form structures.This collection of Microludes are fun and vary in character. They are perfect for an opening piece for your program. You can also feature them on your live streams or as short, captivating performances that you can share as content with your fans. Enjoy!
$30.00
27.44 €
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Flute, Clarinet (duet)
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Jason Anthony Gomez
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Microludes for Flute and Bb Clarinet
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Jason Anthony Gomez
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SheetMusicPlus
Boy at Sea for TB and piano
Choral 2-part
Choral Choir (TB) - Level 2 - Digital Download SKU: A0.1281812 Composed by Adrienne…
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Choral Choir (TB) - Level 2 - Digital Download SKU: A0.1281812 Composed by Adrienne Inglis (ASCAP). 21st Century,Celtic,Classical,Historic,Irish,Patriotic. Octavo. 20 pages. Adrienne Inglis (ASCAP) #873161. Published by Adrienne Inglis (ASCAP) (A0.1281812). Boy at Sea (2023) for TB choir and piano is great for community choruses looking for something fun, easy, and interesting for lower voices! TB and pianoText: excerpts from a 1915 letter by Robert Inglis to the Commissioner of PensionsDuration about 5 minutesDifficulty 2 (Advanced high school, collegiate or community chorus) Language: EnglishSheet music is available for purchase soon.Performances:8 Aug 2023 Inversion Coda performed Boy at Sea at Spider House Ballroom Austin, Texas (world premiere)Commissioned by Inversion Ensemble for Coda’s Tales of the Sea concert in August 2023, Boy at Sea by Adrienne Inglis for tenor and bass chorus with piano recounts the sea-faring adventures of the composer’s great-grandfather as a boy. The text comes from a letter that Robert Inglis wrote in 1915 to the Commissioner of Pensions asking for a raise in his civil war pension. In providing information apparently requested by the Pension office, Robert details many events in his early years, adding a fair bit of sarcasm and wit to the narrative. The composer edited the content to fit into more of a strophic sea-shanty style. The piano part offers a sense of ocean waves as well as a few popular tunes of the day as commentary on the story. When he and his sister were in boarding school in Cowes on the Isle of Wight, he witnessed a historic yacht race. The following year, they sailed across the Atlantic with the family of their father’s third wife. Life with his stepmother must have been unbearable, because he “went to sea†time after time to escape the unpleasantness she brought to bear. The final departure left him shipwrecked on Hatteras with drunken shipmates. He made his way to Maryland where, to his horror, he witnessed a slave auction. Sensing the tension and possibly inspired to action, he headed west to join the 20th Indiana Infantry. He later served in the 51st Pennsylvania, the Provost Guard, and the U. S. Navy. He fell off of a train in 1863, leaving him injured and in pain for the rest of his life.https://adrienneinglis.com/.
$1.99
1.82 €
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Choral 2-part
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Adrienne Inglis
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Boy at Sea for TB and piano
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Adrienne Inglis
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SheetMusicPlus
To Challenge the Sky and Heavens Above: (wp) 1st Horn in E-flat
Concert band
Concert Band - Digital Download SKU: AX.00-PC-0002118_WPEH1 (wp) 1st Horn in E-f…
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Concert Band - Digital Download SKU: AX.00-PC-0002118_WPEH1 (wp) 1st Horn in E-flat. Composed by Robert W. Smith. Instructional. World Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0002118_wpEH1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002118_WPEH1). ISBN 9780757932373. UPC: 654979182245.This new composition is certain to be the next smash hit by renowned composer Robert W. Smith. The majestic hymn-like introduction and the exciting melodic statement, combined with a mysterious middle, were inspired by the rich aerospace history surrounding the Huntsville, AL area. This refreshing work promises more innovative tonalities and textures as well as a variety of interesting rhythms with an intriguing melodic content. This is one composition you won't want to miss.
$3.00
2.74 €
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Concert band
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Robert W
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To Challenge the Sky and Heavens Above:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
To Challenge the Sky and Heavens Above: (wp) 2nd Horn in E-flat
Concert band
Concert Band - Digital Download SKU: AX.00-PC-0002118_WPEH2 (wp) 2nd Horn in E-f…
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Concert Band - Digital Download SKU: AX.00-PC-0002118_WPEH2 (wp) 2nd Horn in E-flat. Composed by Robert W. Smith. Instructional. World Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0002118_wpEH2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0002118_WPEH2). ISBN 9780757932373. UPC: 654979182245.This new composition is certain to be the next smash hit by renowned composer Robert W. Smith. The majestic hymn-like introduction and the exciting melodic statement, combined with a mysterious middle, were inspired by the rich aerospace history surrounding the Huntsville, AL area. This refreshing work promises more innovative tonalities and textures as well as a variety of interesting rhythms with an intriguing melodic content. This is one composition you won't want to miss.
$3.00
2.74 €
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Concert band
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Robert W
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To Challenge the Sky and Heavens Above:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Guthrie: In the Bleak Midwinter for String Quartet
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1496962 Composed by Traditional. Arranged by James M. Guthrie. Chamber,Christmas,Historic,Standards,Traditional. 9 pages. Jmsgu3 #1073376. Published by jmsgu3 (A0.1496962). In the Bleak Midwinter is an essential and beloved Christmas carol with several notable aspects.Origins and AuthorshipThe carol originated as a poem titled A Christmas Carol, written by Christina Rossetti, a prominent English poet, in 1872. Rossetti was known for combining deep Christian faith with rich artistic sensibility in her works. Musical SettingsThe poem was set to music multiple times, with two versions becoming particularly popular: Gustav Holst's hymn tune Cranham in 1906, which is more straightforward and suitable for congregational singing. Harold Darke's more complex choral setting from 1911 was named the best Christmas carol in a 2008 poll of choirmasters and choral experts.Poetic and Theological SignificanceThe carol is notable for its stark imagery, contrasting the harsh winter landscape with the divine incarnation—the paradoxical juxtaposition of earthly elements with the ineffable nature of Christ's birth. Profound theological insights are conveyed through simple language—reflection on the meaning of gift-giving about Christ's birth.Cultural ImpactIn the Bleak Midwinter has become a beloved part of Christmas traditions. Choirs perform it widely, and various artists record it.Many music experts consider The carol one of the greatest Christmas songs. Its imagery and themes have inspired reflection on rest, renewal, and the deeper meaning of the winter season. The enduring popularity of In the Bleak Midwinter stems from its beautiful blend of evocative poetry, rich theological content, and dynamic musical settings, making it a cherished part of Christmas celebrations for many.
$32.95
30.14 €
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String Quartet: 2 violins, viola, cello
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Traditional
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Guthrie: In the Bleak Midwinter for String Quartet
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jmsgu3
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SheetMusicPlus
Life is Beautiful
Piano solo
Piano Solo - Easy/Beginner - Digital Download Composed by Louis Landon. 21st Century,…
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Piano Solo - Easy/Beginner - Digital Download Composed by Louis Landon. 21st Century, New Age. Sheet Music Single. 4 pages. Published by Landon Creative, Inc.
Healing Hearts 3<br> Louis Landon<br> 2016 / Landon Creative, Inc.<br> 63 minutes<br> Review by Kathy Parsons<br> Louis Landon’s Healing Hearts 3 is the third in a series of solo piano albums that are comprised of improvisations that were created while clients were in session at his Healing Piano of Sedona (AZ). These sixty-minute healing and music sessions consist of forty minutes of mentoring and twenty minutes of music that includes personalized music for the client’s own use. Landon created Healing Piano of Sedona several years ago to help people live life joyously, passionately, and stress- and disease-free. Landon is a Steinway Artist who has been a life-long musician. Healing Hearts 3 is his twenty-first album and fourteenth solo piano collection. Each of the thirteen pieces on the album was inspired by a different “soul journey,” so the music is quite varied although it maintains a very calming and peaceful vibe throughout.<br> <br> It is interesting to note that Healing Hearts 3 has the closest to the ideal sound Landon has been looking for on his recordings. He attributes that achievement to the mastering and editing expertise of Joe Bongiorno of Piano Haven Studio, also in Sedona. Landon has been trying to get the sound of a classical concert hall in his Peace Palace studio recordings and this album definitely has that sound, which is exceptionally beautiful - clear, warm and resonant.<br> <br> Healing Hearts 3 begins with “Standing In the Light,” a softly flowing piece with a poignant melody that gently soothes the heart - a favorite. “Heart Song” is hushed, intimate and obviously very personal. “Triumph of the Soul” starts out in the deep bass of the piano - very dark and lost. As the piece evolves, it gradually lightens as it moves up the piano keyboard, ending in a very positive place. I’ve often said that the piano is the best instrument to express the sound and feeling of rain and “Night Rain” proves that point again. More energetic than most of the other tracks, the notes flow freely: sometimes smoothly and evenly, sometimes more percussive like big fat raindrops - love it! “Tears” is heartbreak set to music, although tears are so often a big part of the healing process. Such deep emotion is expressed in this piece! Landon wisely follows sadness with “Happy Man,” a lively slice of pianistic sunshine. “Phoenix Rising” begins in the deep bass of the piano, obviously signifying a very dark place or crisis. Over the course of the composition, there is turmoil and pain, but then Landon gradually moves the piece into the upper end of the piano to a much lighter and more peaceful place - a stunning piece! “Healing Time” is gently uplifting and so soothing and serene that I can actually feel it melting away tension - another favorite. “Music Runs Through Me” flows quickly like a stream with sparkles of sunlight dancing happily on its surface. “Balance” returns to a calm stillness that comes when things/life are in balance. Slow, lyrical and very peaceful, it’s the perfect closing for another great album from Louis Landon!<br> <br> I have thoroughly enjoyed all three Healing Hearts albums, but I think #3 is my favorite. It is available from LouisLandon.com, Amazon, iTunes and CD Baby. Very highly recommended!<br> November 4, 2016<br> <br> Recorded at The Peace Palace, Sedona, AZ, from November 2015 to February 2016. on a Steinway B.<br> <br> Music mastering: Joe Bongiorno at Piano Haven Studio, Sedona, AZ<br> <br> <br> <br> Louis Landon is a composer and Steinway artist. Formerly of New York and currently living in Sedona, Arizona, Louis has dedicated his life to music. His career has taken him around the world playing a variety of styles with some of the most recognized names in the entertainment industry. He toured nationally and internationally, playing classical music for Mikhail Baryshnikov; jazz fusion with The John Payne Band; Latin music with "Pucho and his Latin Soul Brothers”; pop music with Rupert "Pina Colada Song" Holmes; and rock & roll with John Hall, opening for "Little Feat”.<br> <br> Louis began playing the piano by ear at 4 years old and began lessons at 5. As a teenager, he played guitar and keyboard in bands and went on to study music at Stony Brook University, Boston Conservatory and Berklee College of Music.<br> <br> For the past 30 years, through his production company, Landon Music Company, Louis has written and produced music for film, video, and commercials. He recorded his first original album, Love Songs & Jazz, in 1994 and has since released 38 Albums/CDs on the LCI Record label. His latest, entitled Provocative Piano, was released on January 29, 2021. He has just finished up yet another solo piano album, Nighttime Piano for Relaxation and Deep Sleep, with a release date of April 23, 2021.<br> <br> Louis Landon mission:<br> <br> To create a more compassionate world by writing, recording and performing music that inspires love, peace, joy and gratitude.<br> <br> Reviews:<br> <br> “While some pianists are virtuosos in their playing and others may not be as technically proficient, but have great emotional content in their music, Louis Landon brings it all together with impeccable style and grace. His work covers diverse compositional terrain, incorporating influences of classical, new age, jazz, pop, and more in a mellifluous spectrum of moods and musical colors.” Michaeldiamondmusic.com<br> <br> "He has a gift for composition that is second to none." Zone Music Reporter<br> <br> "… indeed meditative and mellow, [he] sacrifices no musical rigor to achieve those ends. With backgrounds in jazz, Latin music, rock, pop, film composing, and classical piano, Louis brings his breadth and depth of experience to bear here. His playing and compositions are sensitive as they are complex and… a diverse range of influences is more than apparent.” Keyboard Magazine<br> <br> Recognition:<br> <br> Louis Landon's music has had over 140 million streams on Pandora radio!<br> <br> Louis Landon's music has had over 34 million streams on Spotify!<br> <br> Thanksgiving Piano was nominated for Album of the Year 2020 by Whisperings Radio.<br> <br> Departure - Solo Piano was nominated for Album of the Year 2017 by Whisperings Radio.<br> <br> Healing Hearts 2 - Solo Piano won 2016 “Contemporary and Modern” Album of the Year at solo piano.com and was nominated for Album of the Year at Enlightened Piano Radio, also in 2016.<br> <br> Healing Hearts - Solo Piano was nominated for Album of the Year at Whisperings Radio 2015.<br> <br> Solo Piano for Love, Peace & Mermaids was nominated for Album of the Year at Whisperings Radio 2010.<br> <br> Solo Piano for Peace was nominated for the 2009 ZMR Music Awards in three categories: Album of the Year, Best Instrumental Album - piano, and Best Cover Art by Zone Music Reporter. Solo Piano for Peace was listed at #30 of the top 100 albums for airplay in 2009 by Zone Music Reporter.<br> <br> Peace Revolution! was Louis Landon's 7th CD and 2nd solo piano CD. It was #7 on the NAR top 100 charts and was played on over 50 stations worldwide.<br> <br> unwind charted at #3 of the top 100 cds for the month of February, 2006 on Zone Music Reporter's website, playing on over 121 stations internationally.<br> <br> Visit LouisLandon.com for bookings, CDs, sheet music, contact info and more.
$5.25
4.8 €
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Piano solo
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Louis Landon
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Life is Beautiful
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Landon Creative, Inc.
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SheetMusicPlus
The Unquiet Grave from American Death Ballads (Downloadable)
High voice
High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Comp…
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High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50
3.2 €
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High voice
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David Conte
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The Unquiet Grave from American Death Ballads
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score and parts
Large Ensemble Cello,Double Bass,Flute,Multi-Percussion,Oboe,Trombone,Viola - Level 5 - Di…
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Large Ensemble Cello,Double Bass,Flute,Multi-Percussion,Oboe,Trombone,Viola - Level 5 - Digital Download SKU: A0.533689 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and parts. 64 pages. Musik Fabrik Music Publishing #3038607. Published by Musik Fabrik Music Publishing (A0.533689). Concerto for Bass Trombone and Six Players (2006) was commissioned by the CarnegieMellon School of Music for the Carnegie Mellon Contemporary Ensemble, Walter Morales,director. The work is dedicated to trombonist Jim Siders, for whom the solo part was written.The work is scored for solo bass trombone with an ensemble of primarily “dark†instruments– alto flute, clarinet, viola, cello, contrabass, and percussion. The solo bass trombone is thefocal point of the musical discourse, acting throughout largely as a protagonist – with muchmaterial best described as bitterly lyrical. The work maintains a generally dark, obsessive,and bitter tone throughout.Unlike some concerti, however, the work is not about an aggression between soloist and therest of the ensemble. Rather the bass trombone is “first†among a collection of like mindedindividuals – all expressing the same sentiments and aggressions.The opening section is marked “spasmodic.†Quiet nervous twitches serve as a backdrop to amelodic unfolding of the basic material and interval content. The end of this part “breaksapart†to reveal a section marked “slow, otherworldly.†The harmonic material starts modal,open, and “distant†in feeling (perhaps a recollection of a distant past) before becominggradually gnarled again.The trombone leads towards the next section: an ever-building athletic “moto perpetuo.†Thisreaches its peak in an aggressive and horribly angry climax – with a wide-ranging trombonepart marked “wildly raving; insane, uglyâ€, obliterated by bass drum hits and shriekinghammer blows from the other instruments.A nervous and timid interlude returns to the nervous twitching of the opening – thougheverything is slightly slower and more hushed than before, finally breaking off into anenigmatic coda.Alto FluteClarinet in BbPercussion (1 player):bass drum, marimba, crotales(Percussionist needs one rosined bow for crotales.)ViolaCelloContrabassThis is the score and parts. The score is also available for sale as a seperate item.
$32.95
30.14 €
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Carson Cooman
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Carson Cooman: Concerto for Bass Trombone and Six Players
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Musik Fabrik Music Publishing
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SheetMusicPlus
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