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Next Step For Band
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Selected Studies for Saxophone
Saxophone SKU: HL.4470690 For Saxophone. Concert Band Method. Woodwind Metho…
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Saxophone SKU: HL.4470690 For Saxophone. Concert Band Method. Woodwind Method. Instructional, Method and Studies. Instructional book. 80 pages. Rubank Publications #RUBL106. Published by Rubank Publications (HL.4470690). ISBN 9781423445272. UPC: 073999706901. 9x12 inches. Edited by H. Voxman.For all saxophones These excellent studies are the next step for students who have completed the advanced level method for their instrument. The full-page etudes in this series, key-centered and supported by scale and arpeggio exercises, take the student to that next level of performance wherein their accumulated skills allow them to play full-length performance pieces with a high level of musicianship and competence. As such, many states include these pieces in their all-state audition lists.
$9.99
8.95 €
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Selected Studies for Saxophone
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Rubank Publications
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SheetMusicPlus
The Next Step
Clarinet and Piano
Instrumental Duet Clarinet,Instrumental Duet,Piano - Digital Download SKU: A0.921661
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Instrumental Duet Clarinet,Instrumental Duet,Piano - Digital Download SKU: A0.921661 Composed by Chris Bandy. 20th Century,Contemporary,Jazz. Score and parts. 9 pages. Chris Bandy #3517657. Published by Chris Bandy (A0.921661). The Next Step is a very short work for piano and clarinet. It is a twelve-tone composition that uses only a single row form. Through rotational segmentation, lyrical melodies and advanced harmonies are brought out from the row. The PDF includes the score and an individual part for B-flat clarinet. Also included are individual parts for C, F, and E-flat instruments, for those desiring solo instrument other than the clarinet. At the end of the PDF is included a two-page explanation on how the piece was composed.
$4.99
4.47 €
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Clarinet and Piano
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Chris Bandy
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The Next Step
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Chris Bandy
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SheetMusicPlus
Next Step Blues Concert
Small Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Tenor Saxophone,Trumpet,Ukulele - Lev…
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Small Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Tenor Saxophone,Trumpet,Ukulele - Level 1 - Digital Download SKU: A0.937389 Composed by Verena Watkiss. Blues. Score and parts. 2 pages. V Watkiss #6345839. Published by V Watkiss (A0.937389). Flexible beginner band music, small ensemble, trio. Chords for piano/guitar.Parts available in concert, Bb, Eb, bass clef and ukulele tab.Blues backing track available also.
$1.99
1.78 €
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Verena Watkiss
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Next Step Blues Concert
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V Watkiss
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SheetMusicPlus
Next Steps Blues Eb
Large Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Tenor Saxophone,Trumpet,Ukulele - Lev…
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Large Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Tenor Saxophone,Trumpet,Ukulele - Level 1 - Digital Download SKU: A0.937393 Composed by Verena Watkiss. Blues. Score and parts. 2 pages. V Watkiss #6345851. Published by V Watkiss (A0.937393). Flexible beginner band music, small ensemble, trio. Chords for piano/guitar.Parts available in concert, Bb, Eb, bass clef and ukulele tab.Blues backing track available also.
$1.99
1.78 €
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Verena Watkiss
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Next Steps Blues Eb
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V Watkiss
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SheetMusicPlus
Next Steps Blues Bb
Small Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Oboe,Trombone,Trumpet,Ukulele,Violin …
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Small Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Oboe,Trombone,Trumpet,Ukulele,Violin - Level 1 - Digital Download SKU: A0.937391 Composed by Verena Watkiss. Blues. Score and parts. 2 pages. V Watkiss #6345849. Published by V Watkiss (A0.937391). Flexible beginner band music, small ensemble, trio. Chords for piano/guitar.Parts available in concert, Bb, Eb, bass clef and ukulele tab.Blues backing track available also.
$1.99
1.78 €
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Verena Watkiss
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Next Steps Blues Bb
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V Watkiss
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SheetMusicPlus
Next Steps Blues bass clef
Small Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Oboe,Trombone,Trumpet,Ukulele,Violin …
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Small Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Oboe,Trombone,Trumpet,Ukulele,Violin - Digital Download SKU: A0.937392 Composed by Verena Watkiss. Blues. Score and parts. 2 pages. V Watkiss #6345855. Published by V Watkiss (A0.937392). Flexible beginner band music, small ensemble, trio. Chords for piano/guitar.Parts available in concert, Bb, Eb, bass clef and ukulele tab.Blues backing track available also.
$1.99
1.78 €
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Verena Watkiss
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Next Steps Blues bass clef
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V Watkiss
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SheetMusicPlus
Next Steps Blues
Small Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Oboe,Trombone,Trumpet,Ukulele,Violin …
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Small Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Oboe,Trombone,Trumpet,Ukulele,Violin - Level 1 - Digital Download SKU: A0.937397 Composed by Verena Watkiss. Blues. Score and parts. 10 pages. V Watkiss #6347043. Published by V Watkiss (A0.937397). Flexible beginner band music, small ensemble, trio. Chords for piano/guitar.Parts available in concert, Bb, Eb, bass clef and ukulele tab.Blues backing track also available .
$9.99
8.95 €
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Verena Watkiss
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Next Steps Blues
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V Watkiss
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SheetMusicPlus
Next Steps Blues Backing track
Alto Saxophone,Bassoon,Clarinet,Flute,Oboe,Trombone,Trumpet,Ukulele,Violin - Digital Downl…
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Alto Saxophone,Bassoon,Clarinet,Flute,Oboe,Trombone,Trumpet,Ukulele,Violin - Digital Download SKU: A0.1072202 Composed by Verena Watkiss. Blues. Accompaniment. Duration 309. V Watkiss #6345863. Published by V Watkiss (A0.1072202). Flexible beginner band music, small ensemble, trio. Chords for piano/guitar.Parts available in concert, Bb, Eb, bass clef and ukulele tab.Blues backing track available also.
$1.99
1.78 €
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Verena Watkiss
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Next Steps Blues Backing track
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V Watkiss
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SheetMusicPlus
Next Steps Blues ukulele tab
Small Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Oboe,Trombone,Trumpet,Ukulele,Violin …
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Small Ensemble Alto Saxophone,Bassoon,Clarinet,Flute,Oboe,Trombone,Trumpet,Ukulele,Violin - Level 1 - Digital Download SKU: A0.937394 Composed by Verena Watkiss. Blues. Score and parts. 2 pages. V Watkiss #6345857. Published by V Watkiss (A0.937394). Flexible beginner band music, small ensemble, trio. Chords for piano/guitar.Parts available in concert, Bb, Eb, bass clef and ukulele tab.Blues backing track available also.
$1.99
1.78 €
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Verena Watkiss
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Next Steps Blues ukulele tab
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V Watkiss
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SheetMusicPlus
Next Step For Band
Concert band
Composed by Glen D. Lienhart. Arranged by Glen D. Lienhart. Score, Set of Parts. 84 pages.…
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Composed by Glen D. Lienhart. Arranged by Glen D. Lienhart. Score, Set of Parts. 84 pages. Published by Glen D. Lienhart (S0.254299). - Score,Set of Parts - - Glen D. Lienhart
$50.00
44.78 €
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Concert band
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Glen D
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Next Step For Band
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Glen D. Lienhart
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SheetMusicPlus
Doo-dah-day! for 8-note Bells and Boomwhackers® (with Black and White Notes)
Small Ensemble Bells,Boomwhackers,Glockenspiel,Handbell,Handchime,Multi-Percussion,Orff In…
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Small Ensemble Bells,Boomwhackers,Glockenspiel,Handbell,Handchime,Multi-Percussion,Orff Instrument,Recorder,Ukulele,Voice,Xylophone - Level 1 - Digital Download SKU: A0.565234 By Sharon Wilson. By Stephen Foster. Arranged by Sharon Wilson. Children,Folk,Instructional,Standards,Traditional. Score and parts. 11 pages. Sharon Wilson #3626039. Published by Sharon Wilson (A0.565234). The tune is the familiar folk song Camptown Races by Stephen C. Foster. However, the lyrics have been updated so they are more suited for children.This sheet music is notated for 8-note, C major diatonic scale (one octave) instruments with Handbells on one staff and Boomwhackers® on a second staff creating an instrumental ensemble (requires one set of each instrument). Handbells play the melody while the Boomwhackers® keep a steady beat with three-note chords. Included in this set of scores is a combined score with both instrument parts on a grand staff plus a separate score for each instrument. A note and chord reference chart is also provided.This arrangement includes two verses. The first verse is easy with fewer notes. The second verse is intermediate and expands the melody by adding more notes. If you want to learn (practice) only the easy verse, an optional ending is provided or it can be skipped to perform the two verses together. Though this sheet music is notated for Handbells and Boomwhackers®, this song is playable by any 8-note, C major diatonic scale (one octave) instrument such as a xylophone or glockenspiel. The melody could also be played by a recorder.This set of scores uses black and white noteheads and is best suited for musicians already familiar with reading standard music notation. For beginning musicians, this same set of scores is available (sold separately) with color coded noteheads.Only filled noteheads (quarter and eighth notes) are used so the notes are easier to see (this does not indicate the bells need to be silenced immediately before the next beat). Also, only quarter rests are used to help visualize the number of beats per measure. Lyrics and chord names are provided as well to aid in the learning and teaching of this song.The number of ringers and whackers needed will vary depending on the skill level of the participants. For more advanced players, each person could be assigned two or three notes. For beginners, it is best to assign one or two notes to each person. Instrument assignment suggestions are provided.Other suggestions and uses: * have both parts played by bells or both parts played using only Boomwhackers® * form a choir using multiple sets of bells and/or Boomwhackers® (this would amplify the sound and allow more people to participate)* use as part of the music education for children at school, home, or church* these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groups, children’s ministriesThis song is one of the 20 arrangements in the collection Folk Songs for 13-note Bells and Boomwhackers® (with Black and White Notes), VOL. 1. Boomwhackers® is a registered trademark of Rhythm Band Instruments, LLC. Used by permission.Visit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99
5.36 €
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Sharon Wilson
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Doo-dah-day! for 8-note Bells and Boomwhackers®
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Sharon Wilson
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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
21.48 €
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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
Opera Scenes for Women
Piano, Voice
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1353635 Composed by Philip S…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1353635 Composed by Philip Seward. 21st Century,Broadway,Chamber,Contemporary,Musical/Show,Opera. Score. 79 pages. Music Anon #938378. Published by Music Anon (A0.1353635). Music by Philip Seward • Libretti by Joan Mazzonelli & Philip SewardThis volume offers four scenes for women singers for use in opera scene study and performance. There are a wide range of characters represented and various musical styles. The first is from High Fidelity which has been adapted from Anton Chekhov’s The Bear and George Bernard Shaw’s How He Lied to Her Husband. There are also references to Wolfgang Amadeus Mozart’s Cosà fan tutte later in the score. In this opening scene, Aurora Wentworth is practicing the mourning she believes society expects of her while her cousin, Georgina, from Milwaukee arrives to spice up the summer morning.The second scene from Dorabella’s Daughters finds Anabella trapped in a woodsman’s cottage the day after her wedding. The opera opens at the wedding reception for her stepsister Cinderella where Annabella is particularly spiteful. In a fury, she marries the next man who walks in the room — as it happens,  a woodsman — or so she thinks. In this scene she is mourning her fate. Her younger sister, Brendella comes to visit and the two are joined later by their very happy stepsister, Cinderella.The third scene from The Passion of John presents three women with their own perspectives on Jesus in this stylized presentation of the Gospel of John. The first singer offers the perspective of the gospel, the second presents a firsthand narrative of the Samaritan woman and the third is the woman who was accused of adultery. All three are accompanied by a women’s choral ensemble, flute, classical guitar and cello.The final scene in this collection comes from The Proposal. The opera is composed as two loosely joined acts where the first is sung by four women and the second by three men. The action concerns the aftermath of a proposal of marriage where the woman, Eve, asks for time to consider. The unexpected response sends Sam into a bit of a tailspin. In this scene, from the end of the first act Eve is arguing with three versions of herself in the middle of the night: the romantic, the maternal and the one focused on career. The scene opens right after Eve-Romantic has just waxed poetic about the perfect fairytale romance.
$45.00
40.3 €
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Piano, Voice
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Philip Seward
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Opera Scenes for Women
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Music Anon
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SheetMusicPlus
Graduation March: Pomp & Circumstance, March No. 4 and Trumpet Tune for Graduation Ceremonies - Lea
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.858500 Composed by Edward Elgar…
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Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.858500 Composed by Edward Elgar, Henry Purcell. Arranged by Stephen Bulat. Baroque,Concert,Graduation,Patriotic,Romantic Period. Score. 3 pages. Stephen Bulat Publishing #5302395. Published by Stephen Bulat Publishing (A0.858500). Lead sheet (melody & chords) arrangement of three marches ideal for Graduation or Convocation Ceremonies. This medley seamlessly transitions through three well known marches; Pomp & Circumstance (Elgar). March No. 4 (Elgar) and Trumpet Tune (Purcell) creating a perfect flow for long graduation assemblies. Rather than tediously repeating Pomp & Circumstance over and over again as each graduate marches in, this arrangement allows the performers to progress from one piece to the next while maintaining a constant march rhythm.This arrangement has been gig-tested and has a very easy to follow roadmap with all essential cues and rehearsal markings throughout creating an arrangement that is very easy to follow on the bandstand. Please click on publisher to purchase other easy to follow arrangements to add to your modern day gig book. www.stephenbulat.com
$3.99
3.57 €
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Piano, Vocal and Guitar
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Edward Elgar, Henry Purcell
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Graduation March: Pomp & Circumstance, March No. 4 and Trumpet Tune for Graduation Ceremonies - Lea
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Stephen Bulat Publishing
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SheetMusicPlus
Next Year
Percussion Ensemble
Percussion Ensemble - Level 2 - Digital Download SKU: A0.1016551 By Foo Fighters. B…
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Percussion Ensemble - Level 2 - Digital Download SKU: A0.1016551 By Foo Fighters. By Dave Grohl, Nate Mendel, and Taylor Hawkins. Arranged by Stephen Lawhorne. Rock. Score and parts. 33 pages. StevoPanMan #5726143. Published by StevoPanMan (A0.1016551). Performers and audiences LOVED this tune! A medium-easy steel band arrangement of this Foo Fighters song. BONUS: There is a part for Jumbie Jam if your ensemble includes those instruments. Also great for combined concerts with elementary groups. Arranged for: Jumbie Jam, Lead, Doubles 1, Doubles 2, Guitar/Cello, Bass Pans, Electric Bass, Drum Set and Shaker/Tambourine. Two additional parts included: TAB electric bass and a Jumbie MAP that is excellent for visual learners that may be confused by musical repeats, D.S., Coda, etc.
$25.00
22.39 €
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Percussion Ensemble
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Foo Fighters
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Next Year
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StevoPanMan
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SheetMusicPlus
Selected Studies
Cornet/Trumpet Cornet; Trumpet SKU: HL.4470680 For Cornet or Trumpet. Edited…
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Cornet/Trumpet Cornet; Trumpet SKU: HL.4470680 For Cornet or Trumpet. Edited by Himie Voxman. Concert Band Method. Brass Method. Instruction. 80 pages. Rubank Publications #RUBL108. Published by Rubank Publications (HL.4470680). ISBN 9781423445265. UPC: 073999706802. 9.0x12.0x0.197 inches. Edited H. Voxman.These excellent studies are the next step for students who have completed the advanced level method for their instrument. The full-page etudes in this series, key-centered and supported by scale and arpeggio exercises, take the student to that next level of performance wherein their accumulated skills allow them to play full-length performance pieces with a high level of musicianship and competence. As such, many states include these pieces in their all-state audition lists.
$9.99
8.95 €
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Trumpet
SKU: HL
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Selected Studies
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Rubank Publications
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SheetMusicPlus
Selected Studies
Clarinet SKU: HL.4470670 For Clarinet. Edited by Himie Voxman. Concert Band …
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Clarinet SKU: HL.4470670 For Clarinet. Edited by Himie Voxman. Concert Band Method. Woodwind Method. Instruction. 80 pages. Rubank Publications #RUBL78. Published by Rubank Publications (HL.4470670). ISBN 9781423445258. UPC: 073999706703. 9.0x12.0x0.198 inches. Edited by H. Voxman.These excellent studies are the next step for students who have completed the advanced level method for their instrument. The full-page etudes in this series, key-centered and supported by scale and arpeggio exercises, take the student to that next level of performance wherein their accumulated skills allow them to play full-length performance pieces with a high level of musicianship and competence. As such, many states include these pieces in their all-state audition lists.
$9.99
8.95 €
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Selected Studies
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Rubank Publications
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SheetMusicPlus
Selected Studies
Flute SKU: HL.4470700 For Flute. Edited by Himie Voxman. Concert Band Method…
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Flute SKU: HL.4470700 For Flute. Edited by Himie Voxman. Concert Band Method. Woodwind Method. Instruction. 80 pages. Rubank Publications #RUBL140. Published by Rubank Publications (HL.4470700). ISBN 9781423445289. UPC: 073999707007. 9.0x12.0x0.206 inches. Edited H. Voxman.These excellent studies are the next step for students who have completed the advanced level method for their instrument. The full-page etudes in this series, key-centered and supported by scale and arpeggio exercises, take the student to that next level of performance wherein their accumulated skills allow them to play full-length performance pieces with a high level of musicianship and competence. As such, many states include these pieces in their all-state audition lists.
$9.99
8.95 €
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Selected Studies
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Rubank Publications
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SheetMusicPlus
Selected Studies
Trombone SKU: HL.4470720 For Trombone. Edited by Himie Voxman. Concert Band …
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Trombone SKU: HL.4470720 For Trombone. Edited by Himie Voxman. Concert Band Method. Brass Method. Instruction. 72 pages. Rubank Publications #RUBL159. Published by Rubank Publications (HL.4470720). ISBN 9781423445296. UPC: 073999707205. 9.0x12.0x0.175 inches. Edited by H. Voxman.These excellent studies are the next step for students who have completed the advanced level method for their instrument. The full-page etudes in this series, key-centered and supported by scale and arpeggio exercises, take the student to that next level of performance wherein their accumulated skills allow them to play full-length performance pieces with a high level of musicianship and competence. As such, many states include these pieces in their all-state audition lists.
$9.99
8.95 €
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Selected Studies
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Rubank Publications
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SheetMusicPlus
Selected Studies
Oboe SKU: HL.4470710 For Oboe. Edited by Himie Voxman. Concert Band Method. …
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Oboe SKU: HL.4470710 For Oboe. Edited by Himie Voxman. Concert Band Method. Woodwind Method. Instruction. 76 pages. Rubank Publications #RUBL107. Published by Rubank Publications (HL.4470710). ISBN 9781540001405. UPC: 073999707106. 9.0x12.0x0.183 inches. Edited by H. Voxman.These excellent studies are the next step for students who have completed the advanced level method for their instrument. The full-page etudes in this series, key-centered and supported by scale and arpeggio exercises, take the student to that next level of performance wherein their accumulated skills allow them to play full-length performance pieces with a high level of musicianship and competence. As such, many states include these pieces in their all-state audition lists.
$8.99
8.05 €
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Selected Studies
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Rubank Publications
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SheetMusicPlus
Mystery
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.1446801 Composed by Jennifer Lucy…
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Concert Band - Level 4 - Digital Download SKU: A0.1446801 Composed by Jennifer Lucy Cook. Arranged by John Ivor Holland. 21st Century,Classical,Contemporary,Contest,Festival. 76 pages. John Ivor Holland #1026566. Published by John Ivor Holland (A0.1446801). Jennifer Lucy Cook is a composer and lyricist based in Los Angeles, specialising in music for the stage and screen, choral work, and pop songwriting. Of 'Mystery', she writes: Nothing has brought me nearer to the brink of insanity more than my futile grip on life. Controlling, planning, and carefully crafting the next step continues to be virtually pointless, and yet I persist. *sigh* Letting go is beautiful but elusive, like hanging onto smoke, and impatience is always at my heels. 'Mystery' is the musical ravings of a slightly deranged person reminding themselves to trust the process – after all, what good is a life without surprises? “Once you tell a secret, there’s no secret left to tell”, and thus, life keeps her mystery guarded. This arrangement has been created as part of an ongoing project to bring more music by women into the worldwide concert band repertoire.
$69.99
62.68 €
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Concert band
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Jennifer Lucy Cook
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Mystery
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John Ivor Holland
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SheetMusicPlus
Killing In The Name
Rhythm Section Voice - Level 4 - Digital Download SKU: A0.1407301 By Rage Against T…
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Rhythm Section Voice - Level 4 - Digital Download SKU: A0.1407301 By Rage Against The Machine. By Brad Wilk, Tim Commerford, Tom Morello, and Zack De La Rocha. Arranged by Stephan Langenberg. Contemporary,Contest,Festival,Grunge,Punk,Rock. 40 pages. Stephan Langenberg #989976. Published by Stephan Langenberg (A0.1407301). Do you want your audience to jump and headbang? The hit song Killing in the Name by Rage Against the Machine, which we all know and love, is arranged with meticulous detail and precision for your cover band's next live performance. A must-have for your audience and your next concert. Notice: Both guitars and bass guitar have classically notated sheet music, supplemented with tabs for optimal performance results.For further information, you are invited to visit my website: www.langenbergmedia.comDon't miss any more publications and check out my other arrangements for this lineup:You only need one part of each instrument? You can purchase them here
$24.99
22.38 €
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Rage Against The Machine
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Killing In The Name
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Stephan Langenberg
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SheetMusicPlus
Killing In The Name
Guitar notes and tablatures
Guitar - Level 3 - Digital Download SKU: A0.1407589 By Rage Against The Machine. By…
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Guitar - Level 3 - Digital Download SKU: A0.1407589 By Rage Against The Machine. By Brad Wilk, Tim Commerford, Tom Morello, and Zack De La Rocha. Arranged by Stephan Langenberg. Contest,Festival,Grunge,Punk,Rock. Guitar Tab. 5 pages. Stephan Langenberg #990255. Published by Stephan Langenberg (A0.1407589). Do you want your audience to jump and headbang? The hit song Killing in the Name by Rage Against the Machine, which we all know and love, is arranged with meticulous detail and precision for your cover band's next live performance. A must-have for your audience and your next concert.Notice: Both guitars and bass guitar have classically notated sheet music, supplemented with tabs for optimal performance results.For further information, you are invited to visit my website: www.langenbergmedia.comDon't miss any more publications and check out my other arrangements for this lineup:.You only need one part of each instrument? You can purchase them here
$4.99
4.47 €
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Guitar notes and tablatures
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Rage Against The Machine
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Killing In The Name
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Stephan Langenberg
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SheetMusicPlus
Killing In The Name
Bass guitar
Bass Guitar TAB - Level 3 - Digital Download SKU: A0.1407578 By Rage Against The Ma…
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Bass Guitar TAB - Level 3 - Digital Download SKU: A0.1407578 By Rage Against The Machine. By Brad Wilk, Tim Commerford, Tom Morello, and Zack De La Rocha. Arranged by Stephan Langenberg. Contest,Festival,Grunge,Punk,Rock. Score. 5 pages. Stephan Langenberg #990243. Published by Stephan Langenberg (A0.1407578). Do you want your audience to jump and headbang? The hit song Killing in the Name by Rage Against the Machine, which we all know and love, is arranged with meticulous detail and precision for your cover band's next live performance. A must-have for your audience and your next concert.Notice: Both guitars and bass guitar have classically notated sheet music, supplemented with tabs for optimal performance results.For further information, you are invited to visit my website: www.langenbergmedia.comDon't miss any more publications and check out my other arrangements for this lineup:.You only need one part of each instrument? You can purchase them here
$4.99
4.47 €
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Bass guitar
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Rage Against The Machine
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Killing In The Name
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Stephan Langenberg
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SheetMusicPlus
Killing In The Name
Guitar notes and tablatures
Guitar - Level 4 - Digital Download SKU: A0.1407593 By Rage Against The Machine. By…
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Guitar - Level 4 - Digital Download SKU: A0.1407593 By Rage Against The Machine. By Brad Wilk, Tim Commerford, Tom Morello, and Zack De La Rocha. Arranged by Stephan Langenberg. Contest,Festival,Grunge,Punk,Rock. Guitar Tab. 6 pages. Stephan Langenberg #990260. Published by Stephan Langenberg (A0.1407593). Do you want your audience to jump and headbang? The hit song Killing in the Name by Rage Against the Machine, which we all know and love, is arranged with meticulous detail and precision for your cover band's next live performance. A must-have for your audience and your next concert.Notice: Both guitars and bass guitar have classically notated sheet music, supplemented with tabs for optimal performance results.For further information, you are invited to visit my website: www.langenbergmedia.comDon't miss any more publications and check out my other arrangements for this lineup:You only need one part of each instrument? You can purchase them here
$4.99
4.47 €
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Guitar notes and tablatures
#
Rage Against The Machine
#
Killing In The Name
#
Stephan Langenberg
#
SheetMusicPlus
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