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Longing and Belonging
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Longing and Belonging (Downloadable)
Piano solo
Piano - Moderately Easy - Digital Download SKU: MQ.15-780-09E Composed by Mark Patt…
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Piano - Moderately Easy - Digital Download SKU: MQ.15-780-09E Composed by Mark Patterson. 3 pages. MorningStar Music Publishers - Digital Sheet Music #15-780-09E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.15-780-09E). Mark Patterson's piano collections strike a balance between music that is not difficult but sounds wonderful, and things that are quite showy and take a little more investment. His understanding of how to write for piano makes this a must-have for your library. There is great variety here, and no matter the mood, the title of the collection is apt.
$5.00
4.59 €
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Piano solo
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Mark Patterson
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Longing and Belonging
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Longing for Belonging, Solo Harp (from my book Two Hands One Harp)
Harp
Harp - Digital Download SKU: A0.1059001 Composed by Cindy Blevins. Contemporary,Ins…
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Harp - Digital Download SKU: A0.1059001 Composed by Cindy Blevins. Contemporary,Instructional,New Age. Full Performance. Duration 60. Cindy Blevins #3125413. Published by Cindy Blevins (A0.1059001). This mp3 was recorded playing my Blevins harp. This song is from my book Two Hands One Harp (for all harps). You can purchase the eBook here on Sheet Music Plus, Item No. S0.247083.
$1.99
1.83 €
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Harp
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Cindy Blevins
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Longing for Belonging, Solo Harp
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Cindy Blevins
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SheetMusicPlus
A DREAM (SATB Chorus [divisi] and Piano or Orchestra) - Piano/Choral Score
Choral SATB
Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1388554 Comp…
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Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1388554 Composed by Stanley M Hoffman. 21st Century,Classical. 24 pages. Stanleymhoffman.com #972055. Published by stanleymhoffman.com (A0.1388554). Program Notes: The fact that the text for this work even exists is a miracle. It was written by Abraham (Abramek) Koplowicz, a Jewish boy who was exterminated by the Nazis during the Holocaust. Abramek was born in 1930 in Lodz, Poland, and died 1944 in that country's infamous concentration camp at Auschwitz-Birkenau. He wrote this poem during the time that his family was trapped in the Lodz ghetto. This poem was not found until 1983 when Eliezer (Lolek) Grynfeld, the poet's half-brother, discovered it among their late father's belongings. Choristers who sing this work will be transported on a magical flight around the world through time and space along with their audiences. —A Dream (Marzenie)When I am twenty years of age,I will burst forth from this cageAnd begin to see our splendid EarthFor the first time since my birth!In my motorized bird I’ll soar so highAbove the world, up in the sky,Over rivers and the seas, With such stupefying ease,With my brother wind and sister cloud, I’llMarvel at the Euphrates and the Nile;The goddess Isis ruled the land that linksThe Pyramids and the massive Sphynx.I will glide above Niagara Falls,And sunbathe where the Sahara calls;If I want to escape the scorching heat,I will fly up north to an Arctic retreat.I will top the cloudy peaks of Tibetan fameAnd survey the fabled land whence the Magi came.From the Island of KangaroosI’ll take my time and cruiseTo the ruins of Pompeii      At the edge of Naples Bay,I’ll continue to the Holy Land, then seekThe home of Homer, the celebrated Greek.More and more astonished will I growAt the beauty of the Earth below.In all my travelling I’ll be twinnedWith my siblings, cloud and wind.—Abraham (“Abramekâ€) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau)Translation by Sarah Lawson and MaÅ‚gorzata Koraszewska© Copyright 1993 by Eliezer Grynfeld. All rights reserved.Used by permission of Eliezer Grynfeld.—Music: © Copyright 2024 by Stanley M. Hoffman.www.stanleymhoffman.comAll rights reserved.
$5.00
4.59 €
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Choral SATB
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Stanley M Hoffman
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A DREAM
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stanleymhoffman.com
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SheetMusicPlus
A DREAM (SATB Chorus [divisi] and Orchestra) - Full Score
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1388556 Composed by Stanley M H…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1388556 Composed by Stanley M Hoffman. 21st Century,Classical. 155 pages. Stanleymhoffman.com #972057. Published by stanleymhoffman.com (A0.1388556). Program Notes: The fact that the text for this work even exists is a miracle. It was written by Abraham (Abramek) Koplowicz, a Jewish boy who was exterminated by the Nazis during the Holocaust. Abramek was born in 1930 in Lodz, Poland, and died 1944 in that country's infamous concentration camp at Auschwitz-Birkenau. He wrote this poem during the time that his family was trapped in the Lodz ghetto. This poem was not found until 1983 when Eliezer (Lolek) Grynfeld, the poet's half-brother, discovered it among their late father's belongings. Choristers who sing this work will be transported on a magical flight around the world through time and space along with their audiences. â??A Dream (Marzenie)When I am twenty years of age,I will burst forth from this cageAnd begin to see our splendid EarthFor the first time since my birth!In my motorized bird Iâ??ll soar so highAbove the world, up in the sky,Over rivers and the seas, With such stupefying ease,With my brother wind and sister cloud, Iâ??llMarvel at the Euphrates and the Nile;The goddess Isis ruled the land that linksThe Pyramids and the massive Sphynx.I will glide above Niagara Falls,And sunbathe where the Sahara calls;If I want to escape the scorching heat,I will fly up north to an Arctic retreat.I will top the cloudy peaks of Tibetan fameAnd survey the fabled land whence the Magi came.From the Island of KangaroosIâ??ll take my time and cruiseTo the ruins of Pompeii      At the edge of Naples Bay,Iâ??ll continue to the Holy Land, then seekThe home of Homer, the celebrated Greek.More and more astonished will I growAt the beauty of the Earth below.In all my travelling Iâ??ll be twinnedWith my siblings, cloud and wind.â??Abraham (â??Abramekâ?) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau)Translation by Sarah Lawson and MaÅ?gorzata Koraszewska© Copyright 1993 by Eliezer Grynfeld. All rights reserved.Used by permission of Eliezer Grynfeld.â??Music: © Copyright 2024 by Stanley M. Hoffman.www.stanleymhoffman.comAll rights reserved.
$77.50
71.17 €
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Orchestra
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Stanley M Hoffman
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A DREAM
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stanleymhoffman.com
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SheetMusicPlus
The Built a Seat for Me (2-Part and piano) A song about belonging and for building community
Choral 2-part
Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.1150580 Composed by Aust…
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Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.1150580 Composed by Australian composer, Rebecca Summers. Children,Contemporary,Contest,Festival. Octavo. 14 pages. Rebecca Summers #750758. Published by Rebecca Summers (A0.1150580). Written to foster a feeling of community and belonging, this unison choir/soloist and piano accompaniment builds to an exciting close and will leave any audiences breathless. Originally written for the opening of a hall refurbishment for a school in Queensland, Australia, this song speaks to very local ideals but has universal relatability. It follows the lives of three women with connection to the school; one very old, one middle age and one a school-girl, who all declare when they built this place, they built a seat for me. Enjoy!
$4.95
4.55 €
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Choral 2-part
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Australian composer, Rebecca Summers
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The Built a Seat for Me
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Rebecca Summers
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SheetMusicPlus
Sounds and Voices for two Violins and Piano
Violin and Piano
Small Ensemble Piano Accompaniment,Violin - Level 3 - Digital Download SKU: A0.1030525
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Small Ensemble Piano Accompaniment,Violin - Level 3 - Digital Download SKU: A0.1030525 Composed by Burak EKER. Contemporary,World. Score and parts. 15 pages. Burak Eker #6490605. Published by Burak Eker (A0.1030525). The piece was composed for the Sounds and Voices II project of the Municipality of Krefeld with the support of the Nordrhein Westphalia state ministry of education. It consists of two parts. In the first part, two themes of Ludwig von Beethoven and Hammâmizâde Ismail Dede Efendi, which describe German and Turkish culture, are used. In the second part, religion, which reveals two different cultures, and the call symbols used by religion are melodiously abstracted. While a weave belonging to Johann Sebastian Bach is used in the piano party, the violins canonically announce a melody unique to Turkish music. In the notation, each part is loaded separately.
$9.99
9.17 €
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Violin and Piano
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Burak EKER
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Sounds and Voices for two Violins and Piano
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Burak Eker
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SheetMusicPlus
The girl and the toad / Contrabass Duet
2 Double basses (duet)
Instrumental Duet Double Bass,Instrumental Duet - Digital Download SKU: A0.1004979 …
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Instrumental Duet Double Bass,Instrumental Duet - Digital Download SKU: A0.1004979 Composed by Jose Peñarroja Pérez. Contemporary. Score and parts. 13 pages. Jose Peñarroja Pérez #6116125. Published by Jose Peñarroja Pérez (A0.1004979). The girl and the toad is a piece of modern chamber music written originally for contrabass and piano, belonging to Forest Frequencies II. Now you can enjoy an arrangement for two contrabasses. It could be said that different styles converge in the piece, such as romantic, classical Viennese and contemporary. The later perhaps more present in the voice of the contrabass II. It contains certain quite technically demanding passages and a wide combination of sounds, covering different registers as well as different types of sound production.
$5.25
4.82 €
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2 Double basses (duet)
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Jose Peñarroja Pérez
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The girl and the toad / Contrabass Duet
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Jose Peñarroja Pérez
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SheetMusicPlus
A people belonging to God
Choral SATB
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1322696 Composed by…
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Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1322696 Composed by 1 Peter 2 and Peter Burton. Christian,Classical,Sacred. 11 pages. Peter Burton Music #910979. Published by Peter Burton Music (A0.1322696). This piece is based on the famous text from 1 Peter 2:4-10 with the well-known verse - But you are a chosen people, a royal priesthood, a holy nation, a people belonging to God. It reminds us that, however ordinary we feel, we are special in God's eyes. It was written for the commissioning of the new building for Dundonald Church, Rayne's Park and was first performed at a Come and Sing in October 2022. It is scored for SATB choir and keyboard.
$1.99
1.83 €
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Choral SATB
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1 Peter 2 and Peter Burton
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A people belonging to God
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Peter Burton Music
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SheetMusicPlus
Trio for Violin, Horn, and Piano
Instrumental Duet,Piano Horn,Instrumental Duet,Piano,Violin - Level 5 - Digital Download
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Instrumental Duet,Piano Horn,Instrumental Duet,Piano,Violin - Level 5 - Digital Download SKU: A0.814854 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 56 pages. Dacker Music #6606529. Published by Dacker Music (A0.814854). Trio for Violin, Horn, and Piano is inspired by-but definitely not modeled on-the great work for the same instrumentation, usually called simply the Horn Trio, op. 40 by Johannes Brahms (1833-1897). Besides belonging to a different period of music and all that entails, this trio is overall on a much smaller scale, lasting roughly half the duration of the Brahms masterpiece and having 3 movements to the Brahms' 4. Much of the thematic material for this composition is drawn from this composer’s 18 New Etudes for the Advancing Horn Student (WaveFront Music LLC - 2021). Grade 5 - Duration 14:00
$16.95
15.56 €
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Richard E Brown
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Trio for Violin, Horn, and Piano
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Dacker Music
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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
Black moon bloom A4
1 Piano, 6 hands
1 Piano,6 Hands - Level 2 - Digital Download SKU: A0.1405098 By John J A Martzhall.…
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1 Piano,6 Hands - Level 2 - Digital Download SKU: A0.1405098 By John J A Martzhall. By John J A Martzhal. Arranged by John J A Martzhall. Classical,Pop,Rock. Accompaniment. Duration 81. John j a martzhall #988136. Published by john j a martzhall (A0.1405098). In the literature “The Feelings keeper and scale time†is established the true belonging of the instinctive feelings with itinerary in the depths of people's hearts; “The relative twin†is a structure skillfully created to consolidate the “attitude regarding the true belonging of feelingsâ€; The reader is required to understand the relevance of considering feelings as an electromagnetic energy without belonging, in the visible world; Breathing in both worlds is inside adapt the heart to grant the intensify of feelings also known as electromagnetic energy inside body, in a process defined as “doubling the speed of light†in the invisible world; Define attitude using it as a resource in the invisible world along with breathing of the visible world to coexist with feelings creating circumstances from the though, is to change the itinerary of the instinctive feelings inside heart, or equaling the speed of light imparting a new itinerary of spontaneous feelings in the heart, double the speed of light in a clear comprehension regarding how to walk on the invisible world by defining it as the self-persuasion inside heart; Thus, self-persuasion in the invisible world is concluded as the steps of a dance between a person and the electromagnetic energy also known as feelings inside heart; In the fusion of both worlds, the define of walk on the invisible world is understanding self-persuasion regarding thoughts as circumstance not occurred, self-persuasion regarding feelings as intangible people self-persuasion regarding the mind with ideas as the non-existentby: John J A MartzhallThe feelings keeper and the scale time.
$999.99
918.26 €
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1 Piano, 6 hands
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John J A Martzhall
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Black moon bloom A4
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john j a martzhall
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SheetMusicPlus
Joga
Choral 3-part
Choral Choir (SAA) - Level 3 - Digital Download SKU: A0.840752 By Bjork. By Bjork G…
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Choral Choir (SAA) - Level 3 - Digital Download SKU: A0.840752 By Bjork. By Bjork Gudmundsdottir and Sirgurjon Sigurdsson. Arranged by Claire Coleman. A Cappella,Contemporary,Folk,Pop. Octavo. 7 pages. Claire Coleman #447378. Published by Claire Coleman (A0.840752). A delicate yet luscious track, this arrangement of Björk's Joga captures all of the richness and restraint of the original. The song itself explores themes of friendship, belonging, and home, describing both Björk's relationship with one of her closest friends and the singer's connection with her Icelandic homeland. The arrangement is in three parts, S / A / A, with divisi throughout. Chords are provided for improvised piano or guitar accompaniment, but the arrangement is designed to be sung a cappella.
$1.99
1.83 €
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Choral 3-part
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Bjork
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Joga
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Claire Coleman
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SheetMusicPlus
Someone Belonging To Someone
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Digital Download SKU: HX.1453074 By Bee Gees. This editi…
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Guitar,Piano,Vocal,Voice - Digital Download SKU: HX.1453074 By Bee Gees. This edition: scorch. Pop. Score. 4 pages. Hal Leonard - Digital #758970. Published by Hal Leonard - Digital (HX.1453074).
$4.99
4.58 €
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Piano, Vocal and Guitar
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Bee Gees
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Someone Belonging To Someone
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Hal Leonard - Digital
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SheetMusicPlus
Snowy Stars
French Horn and Piano
French Horn,Piano - Level 2 - Digital Download SKU: A0.1112053 Composed by Simona A…
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French Horn,Piano - Level 2 - Digital Download SKU: A0.1112053 Composed by Simona Arco. Christmas,Classical,Holiday,Instructional. Score and part. 9 pages. Arcos #714236. Published by Arcos (A0.1112053). “Snowy Stars†evokes the warmth of home, the value of roots and belonging. Grade 3rd and up.
$10.99
10.09 €
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French Horn and Piano
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Simona Arco
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Snowy Stars
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Arcos
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SheetMusicPlus
SPQR (Senatus Populusque Romanus )
Concert band
Concert band - Grade 2 - Digital Download SKU: IZ.CBS1620 Composed by Rich Johnson.…
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Concert band - Grade 2 - Digital Download SKU: IZ.CBS1620 Composed by Rich Johnson. Score and Parts. 59 pages. Duration 2 minutes, 30 seconds. Imagine Music - Digital #CBS1620. Published by Imagine Music - Digital (IZ.CBS1620). 9 x 12 in inches.SPQR comes from the Latin phrase, Senatus Populusque Romanus or The Senate and the People of Rome. This gives reference to the Empire ofAncient Rome. SPQR is similar to the United States ofAmerica's 'USA'and denotes belonging to the Roman Empire. It is still used today throughout Rome.SPQR starts off slow as if a long retired Roman Legionnaire is sitting around a camp fire telling stories of the 'glory days'. Into letter A is where the story takes flight talking of the march of the grand armies, the might of the Roman Colosseum, and the grandeur of Rome in its height. Like all music this piece should be played with passion. With thoughts of might, majesty, and power.
$70.00
64.28 €
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Concert band
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Rich Johnson
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SPQR
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Imagine Music - Digital
#
SheetMusicPlus
SPQR (Senatus Populusque Romanus )
Concert band
Concert band - Grade 2 - Digital Download SKU: IZ.CBS1620-S Composed by Rich Johnso…
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Concert band - Grade 2 - Digital Download SKU: IZ.CBS1620-S Composed by Rich Johnson. Score. 15 pages. Duration 2 minutes, 30 seconds. Imagine Music - Digital #CBS1620-S. Published by Imagine Music - Digital (IZ.CBS1620-S). 9 x 12 in inches.SPQR comes from the Latin phrase, Senatus Populusque Romanus or The Senate and the People of Rome. This gives reference to the Empire ofAncient Rome. SPQR is similar to the United States ofAmerica's 'USA'and denotes belonging to the Roman Empire. It is still used today throughout Rome.SPQR starts off slow as if a long retired Roman Legionnaire is sitting around a camp fire telling stories of the 'glory days'. Into letter A is where the story takes flight talking of the march of the grand armies, the might of the Roman Colosseum, and the grandeur of Rome in its height. Like all music this piece should be played with passion. With thoughts of might, majesty, and power.
$10.00
9.18 €
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Concert band
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Rich Johnson
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SPQR
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Imagine Music - Digital
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SheetMusicPlus
VALS FRÅN DREFVIKEN
Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068894 Composed by Lars Ek…
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Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068894 Composed by Lars Ek. Folk,World. Full Performance. Duration 225. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921499. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068894). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
1.83 €
#
Lars Ek
#
VALS FRÅN DREFVIKEN
#
Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
#
SheetMusicPlus
LÄTTA FINGRAR
Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068893 Composed by Lars Ek…
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Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068893 Composed by Lars Ek. Folk,World. Full Performance. Duration 154. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921497. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068893). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
1.83 €
#
Lars Ek
#
LÄTTA FINGRAR
#
Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
#
SheetMusicPlus
FORNUDDSVALSEN
Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068890 Composed by Lars Ek…
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Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068890 Composed by Lars Ek. Folk,World. Full Performance. Duration 259. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921479. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068890). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
1.83 €
#
Lars Ek
#
FORNUDDSVALSEN
#
Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
#
SheetMusicPlus
LOVELY THOUGHTS
Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068892 Composed by Lars Ek…
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Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068892 Composed by Lars Ek. Folk,World. Full Performance. Duration 233. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921495. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068892). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
1.83 €
#
Lars Ek
#
LOVELY THOUGHTS
#
Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
#
SheetMusicPlus
SNÖKÄNGAN
Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068889 Composed by Lars Ek…
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Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068889 Composed by Lars Ek. Folk,World. Full Performance. Duration 206. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921477. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068889). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
1.83 €
#
Lars Ek
#
SNÖKÄNGAN
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
#
SheetMusicPlus
Go The Distance
Easy Piano
Easy Piano - Level 1 - Digital Download SKU: A0.1415191 By Michael Bolton. By Alan …
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Easy Piano - Level 1 - Digital Download SKU: A0.1415191 By Michael Bolton. By Alan Menken and David Zippel. Arranged by Cathy Pate. 21st Century,Broadway,Children,Film/TV,Musical/Show. Score. 2 pages. Aiwo Production #996924. Published by Aiwo Production (A0.1415191). Go the Distance is an inspiring ballad from Disney's animated film Hercules. Sung by the protagonist Hercules, the song expresses his longing for purpose and belonging as he embarks on a journey to find where he truly belongs. With powerful lyrics and uplifting melodies, Go the Distance encapsulates themes of perseverance, determination, and self-discovery. It resonates with audiences as a motivational anthem, encouraging listeners to pursue their dreams and overcome obstacles, no matter the distance.
$6.99
6.42 €
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Easy Piano
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Michael Bolton
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Go The Distance
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Aiwo Production
#
SheetMusicPlus
Bolero de Cruzado
Guitar notes and tablatures
Guitar Tab - Advanced Intermediate - Digital Download Composed by Paco Cruzado. Pos…
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Guitar Tab - Advanced Intermediate - Digital Download Composed by Paco Cruzado. Post-Romantic, Etudes and Exercises, Classroom, World. Individual Part, Tablature. 10 pages. Published by Paco Cruzado
Music inspired by the genre of the Bolera Dance School, belonging to the album "La Nueva Escuela Bolera"
$5.00
4.59 €
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Guitar notes and tablatures
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Paco Cruzado
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Bolero de Cruzado
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Paco Cruzado
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SheetMusicPlus
Christmas Like A Lullaby
Choral 2-part
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.1282844 By John Denver. By J…
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.1282844 By John Denver. By John Denver. Arranged by Bob Latchaw (ASCAP). Christmas,Folk,Holiday. Octavo. 8 pages. Bob Latchaw #874087. Published by Bob Latchaw (A0.1282844). This lovely original from the talented troubador John Denver sings a tale of holiday peace and belonging, as well as a plea for understanding and unity. Your choir and audiences will be moved by the simple melody and understated harmonies.
$3.00
2.75 €
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Choral 2-part
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John Denver
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Christmas Like A Lullaby
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Bob Latchaw
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SheetMusicPlus
Christmas Like A Lullaby
Choral 3-part
Choral Choir (3-Part Mixed) - Level 3 - Digital Download SKU: A0.1282837 By John De…
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Choral Choir (3-Part Mixed) - Level 3 - Digital Download SKU: A0.1282837 By John Denver. By John Denver. Arranged by Bob Latchaw. Christmas,Folk,Holiday. Octavo. 12 pages. Bob Latchaw #874080. Published by Bob Latchaw (A0.1282837). This lovely original from the talented troubador John Denver sings a tale of holiday peace and belonging, as well as a plea for understanding and unity. Your choir and audiences will be moved by the simple melody and understated harmonies.
$3.00
2.75 €
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Choral 3-part
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John Denver
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Christmas Like A Lullaby
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Bob Latchaw
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SheetMusicPlus
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