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PIANO & KEYBOARDS
Piano solo
44293
Piano, Voice
30782
Easy Piano
12014
Organ
6073
Piano, Vocal and Guitar
3916
1 Piano, 4 hands
1658
C Instruments
1388
Accordion
1259
Piano Accompaniment
839
Piano Trio: piano, violin, cello
750
2 Pianos, 4 hands
517
Piano (band part)
440
Piano Quartet: piano, violin, viola, cello
152
Big Note Piano
146
Piano Quintet: piano, 2 violins, viola, cello
134
Organ, Trumpet (duet)
125
1 Piano, 6 hands
125
Piano Quartet: piano, 2 violins, cello
124
Organ, Piano (duet)
101
Harpsichord
82
2 Accordions
51
2 Pianos, 8 hands
40
Keyboard
31
Accordion ensemble
30
2 Organs (duet)
16
Accordion, Voice
7
All Instruments
7
Organ, Voice
7
Accordion, String(s)
7
Accordion, Piano
6
Accordion and Orchestra
5
Fake Book
3
Organ and Orchestra
2
Piano ensembles
1
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GUITARS
Guitar notes and tablatures
5410
Guitar
4292
Ukulele
1163
Bass guitar
895
Guitar (band part)
778
2 Guitars (duet)
774
Melody line, (Lyrics) and Chords
457
Mandolin
431
Piano, Guitar (duet)
276
4 Guitars (Quartet)
265
3 Guitars (trio)
166
Dulcimer
143
Guitar Ensemble
125
Banjo
119
Lyrics and Chords
66
Lap Steel Guitar
60
Baritone Ukulele
39
Mandolin, Guitar (duet)
22
Mandolin, Piano (duet)
21
3 Dulcimers (trio)
20
2 Dulcimers (duet)
18
Guitar, Violin, Cello (trio)
16
2 Ukuleles
13
Ukulele Ensemble
11
Plectrum Orchestra
9
Guitar, Flute, Clarinet
9
Guitar, Orchestra
8
Guitar, String Quartet
7
Dobro
7
Lute
6
2 Mandolins (duet)
5
Electric Bass (band part)
4
Zither
2
Bouzouki
2
2 Guitars and Orchestra
2
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VOICE
Choral SATB
20740
Choral 3-part
5582
Choral 2-part
4164
Choral TTBB
2641
Choral Unison
2442
Choral SSAA
1298
Vocal duet, Piano
842
Vocal duet
827
Choral Instrumental Pak
751
Soprano voice, Piano
630
Voice solo
564
High voice
476
Choral
414
Tenor voice, Piano
365
Baritone voice, Piano
288
Low voice, Piano
279
Medium voice, Piano
271
Alto voice, Piano
256
Choral SSATB
179
Choral SSAATTBB
155
Choral SSATTB
113
Mezzo-Soprano voice, Piano
105
Soli, Mixted choir and accompaniment
93
Tenor voice
77
Medium Voice
68
High voice, Piano
59
Voice, Guitar
59
Soprano voice
50
Low voice
26
Choral SATBB
17
Choral SSAATB
15
Choral SSAB a cappella
15
Children choir
11
Soprano voice, Orchestra
9
Choral SSAB, Piano
7
Vocal duet, Organ
6
Choral SATTBB A Cappella
5
Choral SAATB A Cappella
4
Voix Masculines
3
Choral SSAATB A Cappella
2
Choral SSATBB
1
Voice, Basso continuo
1
Baritone voice
1
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WOODWIND
Flute and Piano
5730
Saxophone Quartet: 4 saxophones
3379
Clarinet and Piano
3373
Saxophone (band part)
3118
Oboe, Piano (duet)
2704
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
2615
Alto Saxophone and Piano
2408
Flute, Oboe, Clarinet, Bassoon
2212
2 Saxophones (duet)
2068
2 Flutes (duet)
2054
Flute
1954
Clarinet Quartet: 4 clarinets
1946
Clarinet
1792
Tenor Saxophone and Piano
1697
2 Clarinets (duet)
1275
Soprano Saxophone and Piano
1177
Saxophone Quintet: 5 Saxophones
1136
Flute Quartet: 4 flutes
1119
Alto Saxophone
1098
Clarinet (band part)
865
Oboe (band part)
821
Tenor Saxophone
790
3 Clarinets (trio)
749
Clarinet Ensemble
722
Flute, Clarinet (duet)
638
Flute (band part)
629
Flute Trio: 3 flutes
623
3 Saxophones (trio)
620
Flute and Guitar
551
Flute ensemble
514
Saxophone ensemble
510
Descant (Soprano) Recorder
489
Baritone Saxophone, Piano
484
2 Oboes (duet)
429
2 Recorders (duet)
428
Clarinet Quintet: 5 clarinets
412
English horn, Piano
364
Saxophone, Clarinet (duet)
311
Clarinet, Violin (duet)
304
Ocarina
303
Treble (Alto) Recorder
302
Harmonica
302
Recorder Quartet
297
Oboe
278
Oboe, Bassoon (duet)
252
Clarinet, Trumpet (duet)
248
Flute, Violin, Piano
240
Flute, Violin
234
Oboe, Clarinet (duet)
223
Bass Clarinet, Piano
222
2 Flutes, Piano
201
Flute, Oboe, Clarinet (trio)
190
Clarinet, Guitar (duet)
188
Soprano Saxophone
169
Flute, Clarinet and Bassoon.
162
3 Recorders (trio)
150
Flute, Clarinet, Piano (trio)
149
Flute, Viola (duet)
142
Recorder
140
Clarinet and Viola
137
Flute, Trumpet (duet)
131
Clarinet, Bassoon (duet)
131
Oboe, Flute
127
Flute, Saxophone (duet)
125
Treble (Alto) Recorder, Piano
123
Flute Quintet : 5 flutes
118
Flute, Oboe, Bassoon
116
Clarinet, Harp (duet)
113
Flute, Violoncello
112
Flute, Cello, Piano (trio)
107
Oboe, Clarinet, Bassoon (trio)
104
5 Recorders
97
Descent (Soprano) Recorder, Piano
96
2 Clarinets, Piano
94
English Horn
94
Baritone Saxophone
92
Flute, Oboe (duet)
89
Recorder Ensemble
88
Clarinet, Cello, Piano (trio)
78
Saxophone
76
2 Saxophones, Piano
70
Clarinet, Cello (duet)
70
Flute, Oboe, Piano (trio)
63
Tenor Recorder
61
Flute, Violin and Violoncello
58
Treble (Alto) Recorder, Basso continuo
53
Flute, Bassoon, and Piano
53
Oboe, Cello
49
Saxophone and Piano
49
Saxophone and Organ
47
Recorder, Guitar (duet)
46
Piccolo
44
Flute, Viola and Piano
44
Oboe, Violin (duet)
42
Saxophone and Harp
41
Oboe, Guitar (duet)
41
Oboe, Harp
38
Flute, Basso continuo
37
Piccolo, Piano
34
3 Oboes
34
Flute, trombone and piano
33
Pennywhistle
32
4 Oboes
31
Flute, Harp and Cello
31
Flute, Organ (duet)
28
Oboe and viola (duet)
28
Wind ensemble
28
Flute, Clarinet, Horn and Bassoon (Quartet)
28
Flute, Violin, Violoncello and Piano
26
Clarinette, Viola and Piano (trio)
23
Saxophone and Guitar
23
Clarinet, Trombone (duet)
23
Bass Clarinet
22
Flute, Violin, Guitar
22
Recorder, Piano
22
Clarinet, Bassoon, Piano (trio)
21
Flute, Trombone (duet)
21
Flute, harp and violin
21
2 Recorders, Piano
20
Eb Instruments
19
Clarinet Quintet: Clarinet, String Quartet
18
Flute, Orchestra
18
Flute, Cello, Guitar
18
2 Clarinets, Bassoon
17
Clarinet, trumpet and piano
16
Flute and String Quartet
16
Flute, Oboe, Violin
16
Oboe, Bassoon and Piano
16
Flute and Strings Trio
15
Clarinet, Organ
13
2 Oboes, Piano
12
Oboe ensemble
12
Bagpipe
11
Oboe, Clarinet and Piano (Trio)
11
Descant (Soprano) Recorder, Basso continuo
11
Clarinet Quartet: Clarinet, Violin, Viola, Cello
11
Oboe, Cello and Piano
10
Clarinet, Orchestra
10
2 Flutes and Harp
10
Clarinet, Double bass (duet)
9
Oboe, Violin, Piano
9
Flute, French horn (duet)
8
Flute, Viola and harp
8
2 Oboes and English horn
8
Oboe, Organ
8
Flute, Guitar, Piano
7
Flute, Tuba (duet)
7
Clarinet, Tuba
7
Oboe, Violin, Viola and Violoncello (Quartet)
7
2 English horns and Pianoforte
7
2 Oboes and Basson
6
2 Flutes, Basso continuo
6
Oboe and Orchestra
6
Oboe, Trombone (duet)
6
Oboe, Trumpet (duet)
6
English Horn, Guitar (duet)
6
Flute, Viola and Cello
5
Harmonica, Piano
4
Pan Flute
4
Flute, Clarinet, Violin (trio)
3
Oboe and String quartet
3
Clarinet, Saxophone, Piano
3
Recorder, Harp
3
2 Flutes, 2 Clarinets (Quartet)
3
2 Recorders, Guitar
2
English horn, Harp (duet)
2
2 Flutes and Guitar
2
Flute, viola, cello and guitar
1
3 Recorders, Piano
1
Saxophone, Tuba (duet)
1
Oboe, Clarinet, Bassoon and Piano
1
Instrumentations suivantes
Retracter
WOODBRASS
Trumpet (band part)
11837
Trumpet
3630
Trumpet, Piano
3495
Brass Quintet: 2 trumpets, horn, trombone, tuba
3308
Trombone (band part)
2320
Trombone and Piano
2164
French Horn and Piano
1507
Brass quartet : 2 trumpets, trombone, tuba
1172
Trombone
1101
French horn
924
Tuba and Piano
735
2 Trumpets (duet)
725
French horn (band part)
606
2 Trombones (duet)
570
Brass Quartet: 2 trumpets, horn, trombone
562
Tuba
542
Trumpet, Trombone (duet)
506
Brass Quartet
460
Tuba (band part)
457
Brass Quartet: 4 horns
430
2 Euphoniums and 2 Tubas
421
Brass Quartet: 4 trombones
399
Euphonium, Piano (duet)
387
2 French horns (duet)
385
English horn, Piano
364
Trumpet, Horn (duert)
350
Trumpet, Saxophone (duet)
299
Trumpet ensemble
211
Trombone ensemble
190
Brass Quartet: 4 trumpets
157
Euphonium
147
Horn Ensemble
145
3 Trombones (trio)
133
2 Tubas (duet)
127
3 Trumpets (trio)
126
Brass Trio
122
4 Tubas
100
2 Trumpets, Keyboard (piano or organ)
99
English Horn
94
Tuba and Organ
61
French Horn and Harp
47
Trombone, Organ
43
Trumpet, Cello, Piano
41
Brass Quartet: 2 trumpets, 2 trombones
40
3 French horns (trio)
40
Trumpet, Harp
39
2 Euphoniums (duet)
38
Trombone, Horn (duet)
38
Bass Trombone
35
Bass Trombone and Piano
33
Trombone, Tuba (duet)
30
Trumpet, Trombone, Piano
30
Trumpet, Cello (duet)
30
3 Tubas (trio)
28
Trumpet, Tuba (duet)
28
Trumpet, Bassoon (duet)
27
Bass Clef Instruments
26
Euphonium, Tuba (duet)
25
Tuba ensemble
18
Trumpet and Guitar
17
Trumpet, Orchestra
17
Horn, Tuba (duet)
16
2 Trombones, Piano
16
Bb Instruments
15
Horn and Organ
14
Cornet and Piano
14
2 French horns, Piano
13
4 Euphoniums
11
Brass Quintet: 2 trumpets, horn, 2 trombones
11
Horn, Cello (duet)
10
Horn and Orchestra
9
Trumpet, violin (duet)
8
F Instruments
7
2 English horns and Pianoforte
7
Trombone, Violin (duet)
7
Trombone and Orchestra
7
Brass quartet : Horn, Trombone, Tuba, B-Flat Trumpet
6
Horn, Cello and Piano
6
English Horn, Guitar (duet)
6
Cornet
6
Trumpet, Euphonium (duet)
5
Clarinet, Horn (duet)
5
3 Euphoniums
4
Euphonium (band part)
4
Trombone, cello (duet)
3
Horn, Trumpet, Trombone (trio)
3
Cornet and Orchestra
2
Tuba or Euphonium or Saxhorn
2
Flügelhorn
2
English horn, Harp (duet)
2
Bass Saxhorn or Euphonium or Tuba and Piano
1
Euphonium or Saxhorn and Piano
1
French horn and Basson (duet)
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
7853
Violin and Piano
6743
Cello, Piano
4145
Harp
3695
Violin
2858
Viola, Piano
2842
Cello
1828
Violin (band part)
1487
Violin, Cello (duet)
1417
2 Violins (duet)
1277
Viola
1092
String Trio: violin, viola, cello
1083
2 Cellos (duet)
864
Doublebass (band part)
758
Violin, Viola (duet)
717
Viola (band part)
699
2 Violas (duet)
616
Double bass, Piano (duet)
596
Double Bass
529
String Quintet: 2 violins, viola, cello, bass
519
String Trio: 2 violins, cello
433
2 Harps (duet)
386
4 Cellos
329
Cello (band part)
321
String Trio: 3 violins
307
Harp, Flute (duet)
303
Piano Trio: Violin, Viola, Piano
299
Violin, Guitar (duet)
298
Cello, Guitar (duet)
247
Viola, Cello (duet)
230
String Trio: 3 cellos
201
String quartet: 4 violins
178
Viola, Guitar (duet)
158
Harp, Violin (duet)
130
2 Double basses (duet)
92
String Trio: 3 violas
88
2 Violins, Piano
85
Harp, Cello (duet)
84
String Quartet : 4 violas
80
String trio
66
String Trio: 2 violins, viola
66
Cello, String Bass (duet)
65
Viola and Harp
55
Violin, Basso continuo
53
Cello, Organ
47
Cello, Orchestra
41
Violoncello, Basso continuo
40
Violin, Bassoon (duet)
40
Violin, Clarinet, Piano (trio)
40
2 Violins and Basso
39
2 Cellos, Piano
39
Cello Ensemble
39
String Quintet: 2 violins, 2 violas, cello
35
Violin, Organ
34
Violin ensemble
32
Harp, Voice
30
Viola ensemble
26
3 Harps
25
Flute, Doublebass (duet)
21
String Quintet: 2 violins, viola, 2 cellos
20
Harp and Piano
18
Viola and Bassoon
15
2 Violas, Piano
15
Harp and mandolin
15
Harp, Violin, Violoncello
14
Viola and orchestra
14
4 Double Basses
12
Violin, Trumpet and Piano
11
Harp, Trombone (duet)
11
Autoharp
10
Viola, Organ
8
Violin, Cello, Clarinet
7
Harp (band part)
7
3 double basses
6
4 Harps
6
5 Harps
5
Violin, Tuba (duet)
5
Harp and Organ
4
Double basses ensemble
3
Harp, String quartet
3
Harp, Orchestra
3
Violin, Double bass (duet)
1
Violin, Clarinet and Guitar
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
22772
String Orchestra
4584
Orchestra
3943
Jazz Ensemble
2731
Handbells
1908
Marching band
1748
Brass ensemble
1704
Chamber Orchestra
1007
Percussion (band part)
560
Jazz combo
549
Drum (band part)
432
Percussion Ensemble
317
Drums
284
Marimba
235
Woodwind Quintet
76
Timpani (band part)
72
Snare drums
68
Timpani
63
Vibraphone
62
Piano and Orchestra
62
Xylophone, Piano
59
Percussion
55
Woodwind Quartet: any 4 woodwinds
53
Orchestra, Violin
48
Xylophone
45
Drums-Marching band
27
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
26
Flexible Instrumentation
21
2 Xylophones
16
School Ensemble
10
3 Marimbas
8
Brass Quintet: other combinaisons
8
Vibraphone and Marimba
7
Marimba and Organ
6
Xylophone or Marimba or Vibraphone
6
2 Marimbas
5
Woodwind Trio: any 3 woodwinds
5
Big band
4
Marimba, Piano (duet)
3
Bodhran
3
2 Snare Drums (duet)
3
Conga
3
Voice and Orchestra
3
2 Percussions
2
3 Percussions
2
Cajon
2
Voice Mezzo-Soprano, Orchestra
2
Bongos
2
Xylophone (band part)
1
Symphonic Band
1
Marimba or Xylophone and Piano
1
Vibraphone (band part)
1
Marimba, Saxophone (duet)
1
Instrumentations suivantes
Retracter
OTHERS
Musical course - Solfege
221
Music Theory
42
Stationery
9
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9976
La Formation Musicale Tout Simplement Volume 3
Musical course - Solfege
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises…
(+)
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises, European, Children's Musicals. Individual Part. 42 pages. Published by MCM Editions Musicales
This methodis for third Year students Musical.<br> <br> <br> It coversthe bulk of the acquisitions requested for<br> third year of Formation and will make them discover all the language<br> Musical they need to play theirinstrument.<br> <br> <br> Each lessonincludes:<br> <br> <br> - Horizontal and vertical readingnotes<br> - Reading by the directory<br> - Reading rhythm<br> - Rhythm struck hands together one voice and two voice<br> - Rhythm struck and read by the directory<br> - Singing<br> - Theory<br> - Melodic dictation<br> - Rhythmic Dictation
$19.00
17.38 €
#
Musical course - Solfege
#
Christian Champeil
#
La Formation Musicale Tout Simplement Volume 3
#
MCM Editions Musicales
#
SheetMusicPlus
La Formation Musicale Tout Simplement Volume 4
Musical course - Solfege
Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises…
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Composed by Christian Champeil. Contemporary Classical, Method, Etudes and Exercises, European. Individual Part. 42 pages. Published by MCM Editions Musicales France
This methodis for fourth Year students Musical.<br> <br> <br> It coversthe bulk of the acquisitions requested for<br> fourth year of Formation and will make them discover all the language<br> Musical they need to play theirinstrument.<br> <br> <br> Each lessonincludes:<br> <br> <br> - Readingnotes horizontal and vertical<br> - Reading rhythm by the directory<br> - Rhythm struck hands together one voice two voice<br> - Singing<br> - Theory<br> - Melodic dictation<br> - Rhythmic Dictation
$19.00
17.38 €
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Musical course - Solfege
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Christian Champeil
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La Formation Musicale Tout Simplement Volume 4
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MCM Editions Musicales France
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SheetMusicPlus
Jazztrompete kreativ
Trumpet
Trumpet - intermediate - Digital Download Technik, Stilistik, Aufbautraining. This ed…
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Trumpet - intermediate - Digital Download Technik, Stilistik, Aufbautraining. This edition: Sheet music. Jazz, Trompete, Unterricht. Downloadable. Op. 1. Schott Music - Digital #Q54842. Published by Schott Music - Digital
Harmonik und Rhythmik sind fur jeden Jazzmusiker eine Selbstverstandlichkeit. Wie aber lernt man melodische Improvisation? Wie gestaltet man ein Thema und vor allem: Wie entwickelt man es weiter? Diese Lucke zu schliessen ist das Ziel von "Jazztrompete kreativ". Es bietet dem angehenden und fortgeschrittenen Jazztrompeter mit ausfuhrlichen Erlauterungen und Ubungen sowie zahlreichen Notenbeispielen eine Fulle von ubersichtlich gegliederten Ubungen, Informationen und Anregungen. Eine umfassende Anleitung zum Improvisieren, die sich nicht nur auf die Arbeit mit Skalen und Akkordpatterns beschrankt, sondern einen wirklich kreativen Zugang zur Jazzmelodik und dazu viele echte Tipps aus der Praxis bietet. Fur Unterricht und Selbststudium geeignet.<br> Band 1 mit den Themen Technik, Stilistik und Aufbautraining enthalt eine Einfuhrung in die blaserischen, technischen und stilistischen Grundlagen des Jazztrompetenspiels und behandelt Themen wie Ansatz, Tonbildung, Kondition, Spieltechnik und Aufbautraining.
$18.99
17.37 €
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Trumpet
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Jazztrompete kreativ
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Schott Music - Digital
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.94 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
My First Concert
Trumpet
Trumpet (B) and piano - easy to intermediate - Digital Download 26 Easy Concert Piece…
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Trumpet (B) and piano - easy to intermediate - Digital Download 26 Easy Concert Pieces from 5 Centuries. This edition: Sheet music. Trompete, Blasinstrument, Konzert. My first Concert. Downloadable. Schott Music - Digital #Q54864. Published by Schott Music - Digital
To every young musician, the first concert is a special experience. The choice of the 'right' performance piece is of vital importance: It should be technically and musically manageable, make a strong impression and give great pleasure in practising.<br> The edition .My First Concert .contains easy pieces for trumpet in B flat and piano for music lessons and first auditions. The selection of the works invites the performer on a trip through various music epochs - starting from 16th-century music via Baroque, Classical and Romantic to contemporary music. The musical journey through time ends in pleasant, modern pieces from the areas of pop and rock music which would add variety to lessons.<br> Most pieces can be played after 1-2 years of music lessons. .The edition also contains an easy piano part for accompaniment. It is deliberately kept simple so that the piano accompaniment can also be played by students - for example at concerts in music schools or at competitions.
$16.99
15.54 €
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Trumpet
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My First Concert
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Schott Music - Digital
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SheetMusicPlus
My First Concert
Trumpet
Trumpet in C - easy - Digital Download 26 Easy Concert Pieces from 5 Centuries. This …
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Trumpet in C - easy - Digital Download 26 Easy Concert Pieces from 5 Centuries. This edition: PDF. Trompete, Blasinstrument, Konzert. My first Concert. Downloadable. Schott Music - Digital #Q47091. Published by Schott Music - Digital
To every young musician, the first concert is a special experience. The choice of the 'right' performance piece is of vital importance: It should be technically and musically manageable, make a strong impression and give great pleasure in practising.<br> The edition .My First Concert .contains easy pieces for trumpet in B flat and piano for music lessons and first auditions. The selection of the works invites the performer on a trip through various music epochs - starting from 16th-century music via Baroque, Classical and Romantic to contemporary music. The musical journey through time ends in pleasant, modern pieces from the areas of pop and rock music which would add variety to lessons.<br> Most pieces can be played after 1-2 years of music lessons. Approaching the works is made easier by the enclosed CD which contains all pieces as a demo version and as a play-along version with just piano accompaniment. The edition also contains an easy piano part for accompaniment. It is deliberately kept simple so that the piano accompaniment can also be played by students - for example at concerts in music schools or at competitions.
$3.99
3.65 €
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Trumpet
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My First Concert
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Schott Music - Digital
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SheetMusicPlus
Celebre Comptine
Trumpet
Bb Trumpet, Piano - Grade 3 - Digital Download SKU: FX.FX071969 Composed by Pascal …
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Bb Trumpet, Piano - Grade 3 - Digital Download SKU: FX.FX071969 Composed by Pascal Proust. Classical, Educational. Score and Set of Parts. FLEX Editions - Digital Sheet Music #FX071969. Published by FLEX Editions - Digital Sheet Music (FX.FX071969). Easy variations on a famous popular theme. For an auditon or exam on folk songs, and with a piano accompaniement adapted to the young musicians.
$8.95
8.19 €
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Trumpet
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Pascal Proust
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Celebre Comptine
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FLEX Editions - Digital Sheet Music
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SheetMusicPlus
The Organ Music of Fred Bock
Organ
Organ SKU: HL.8738397 Volume 1: Six Hymn Tunes. Composed by Fred Bock. Arran…
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Organ SKU: HL.8738397 Volume 1: Six Hymn Tunes. Composed by Fred Bock. Arranged by Fred Bock. Organ. Fred Bock Publications. General Worship, Sacred. 31 pages. Fred Bock Music Company #BG0889. Published by Fred Bock Music Company (HL.8738397). ISBN 9781934596456. UPC: 073999383973. 9.0x12.0x0.127 inches.With over 30 years of arranging and composing experience as a church music director, arranger, composer, music editor and performer, Fred Bock excels in the ability to add freshness and strength to his settings of traditional hymn tunes. Congregations, as well as the musicians, are sure to value and identify with Mr. Bock's preludes. Includes: Be Thou My Vision * Now Thank We All Our God * Morning Has Broken * and others.
Song List
: Now Thank We All Our God (J Cruger) Morning has Broken Jesus, Thou Joy of Loving Hearts (Henry Baker) On Christmas Night (Arr: Fred Bock) Be Thou My Vision LORD'S MY SHEPHERD, THE (ARR: FRED BOCK)
$12.95
11.85 €
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Organ
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Fred Bock
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The Organ Music of Fred Bock
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Fred Bock Music Company
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SheetMusicPlus
How To Comp
Melody instruments (piano/keyboard/guitar/vibraphone) - Digital Download SKU: S9.Q48014…
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Melody instruments (piano/keyboard/guitar/vibraphone) - Digital Download SKU: S9.Q48014 A Study In Jazz Accompaniment. Jazz - music education - lessons. Downloadable, Textbook. Advance Music GmbH - Digital #Q48014. Published by Advance Music GmbH - Digital (S9.Q48014). English.This digital book/audio set presents a clear, comprehensive, one-step-at-a-time method for learning how to accompany an improvised jazz solo. As a sequel to Hal Crook’s text How to Improvise, How to Comp offers precise explanations, practical exercises, recorded musical examples, four play-along tracks, and daily practice routines. How to Comp organizes a vast amount of information that helped to make the author’s previous work a major contribution to jazz pedagogy. How to Comp is primarily for intermediate through advanced level players of harmonic instruments, e.g. piano (keyboard), guitar and vibraphone. However, drummers, bassists and horn players can also benefit from its study. Subject covered include: Voicing construction, preferred stock voicings, voiceleading, constant structure, non-harmonic voicings, single-note lines, rhythmic vocabulary, altering the harmonic rhythm, motive development, dividing and shifting attention, supportive and interactive comping styles, the soloist’s viewpoint, pacing, strolling, and much more. In How to Comp, the author, an accomplished jazz trombonist, pianist, composer, arranger and educator, looks deeply into the nature and challenge of artistic jazz accompaniment and puts into focus a direct, sure path toward mastery.A comprehensive, one-step-at-a-time method for learning how to accompany an improvised solo. It offers precise explanations, practical exercises, recorded examples, four play-along tracks, and daily practice routines. Intended for intermediate-to-advanced players of harmonic instruments (piano, guitar, vibraphone), it can also be used by drummers, bassists and horn players.
$33.99
31.09 €
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How To Comp
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Advance Music GmbH - Digital
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SheetMusicPlus
Stompin' on a Riff: 2nd B-flat Trumpet
Trumpet (band part)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017156_T2 2nd B-flat Trumpet…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017156_T2 2nd B-flat Trumpet. Composed by David Berger. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017156_T2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017156_T2). UPC: 038081343402.As an homage to the great Count Basie, composer/arranger David Berger delivers just what the title says---this chart is truly Stompin' on a Riff. Features include a piano intro, a sax section melody and some brass, written solos for 2nd trumpet and 1st alto, a modulation, some piano fills, another modulation and a diminuendo into the shout chorus. This chart swings hard---you'll love it! (3:41) This excellent blues chart in the Basie style uses the keys of G, A-flat, E-flat, and A-flat. The written solos for piano, trumpet, and alto sax include changes and fit the style well. The writing includes a great shout chorus and some neat plunger work for the trumpets -The Instrumentalist This title is available in SmartMusic.
$3.00
2.74 €
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Trumpet (band part)
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David Berger
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Stompin' on a Riff: 2nd B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Stompin' on a Riff: 1st B-flat Trumpet
Trumpet (band part)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017156_T1 1st B-flat Trumpet…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017156_T1 1st B-flat Trumpet. Composed by David Berger. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017156_T1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017156_T1). UPC: 038081343402.As an homage to the great Count Basie, composer/arranger David Berger delivers just what the title says---this chart is truly Stompin' on a Riff. Features include a piano intro, a sax section melody and some brass, written solos for 2nd trumpet and 1st alto, a modulation, some piano fills, another modulation and a diminuendo into the shout chorus. This chart swings hard---you'll love it! (3:41) This excellent blues chart in the Basie style uses the keys of G, A-flat, E-flat, and A-flat. The written solos for piano, trumpet, and alto sax include changes and fit the style well. The writing includes a great shout chorus and some neat plunger work for the trumpets -The Instrumentalist This title is available in SmartMusic.
$3.00
2.74 €
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Trumpet (band part)
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David Berger
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Stompin' on a Riff: 1st B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Stompin' on a Riff: 4th B-flat Trumpet
Trumpet (band part)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017156_T4 4th B-flat Trumpet…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017156_T4 4th B-flat Trumpet. Composed by David Berger. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017156_T4. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017156_T4). UPC: 038081343402.As an homage to the great Count Basie, composer/arranger David Berger delivers just what the title says---this chart is truly Stompin' on a Riff. Features include a piano intro, a sax section melody and some brass, written solos for 2nd trumpet and 1st alto, a modulation, some piano fills, another modulation and a diminuendo into the shout chorus. This chart swings hard---you'll love it! (3:41) This excellent blues chart in the Basie style uses the keys of G, A-flat, E-flat, and A-flat. The written solos for piano, trumpet, and alto sax include changes and fit the style well. The writing includes a great shout chorus and some neat plunger work for the trumpets -The Instrumentalist This title is available in SmartMusic.
$3.00
2.74 €
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Trumpet (band part)
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David Berger
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Stompin' on a Riff: 4th B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Stompin' on a Riff: 3rd B-flat Trumpet
Trumpet (band part)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0017156_T3 3rd B-flat Trumpet…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0017156_T3 3rd B-flat Trumpet. Composed by David Berger. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017156_T3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017156_T3). UPC: 038081343402.As an homage to the great Count Basie, composer/arranger David Berger delivers just what the title says---this chart is truly Stompin' on a Riff. Features include a piano intro, a sax section melody and some brass, written solos for 2nd trumpet and 1st alto, a modulation, some piano fills, another modulation and a diminuendo into the shout chorus. This chart swings hard---you'll love it! (3:41) This excellent blues chart in the Basie style uses the keys of G, A-flat, E-flat, and A-flat. The written solos for piano, trumpet, and alto sax include changes and fit the style well. The writing includes a great shout chorus and some neat plunger work for the trumpets -The Instrumentalist This title is available in SmartMusic.
$3.00
2.74 €
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Trumpet (band part)
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David Berger
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Stompin' on a Riff: 3rd B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The Year of the Trumpeter (piano reduction)
Trumpet, Piano
Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sac…
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Composed by Gregory Fritze. 21st Century, Contemporary Classical, Neo-Classical, Sacred, Funeral. Piano Reduction, Solo Part. 14 pages. Published by Musica Nova USA
Year of the Trumpeter (El Año del Trompetista) is a piece for solo trumpet and band. Duration is 5 minutes, Grade for band and soloist is Grade 3. This is the piano reduction. It was composed in 2010 as an homage to four friends of mine who played trumpet and passed away in 2009. <br> <br> Fred Mills played trumpet with the Canadian Brass for 24 years. I met him when I performed with Harvey Phillips and his Tuba Consort when we joined the Canadian Brass in a Christmas concert at Carnegie Hall. I arranged a piccolo descant trumpet part for Fred that he played with the tuba group. We also worked together in Cordoba Argentina in 2006.<br> <br> Linares Rodriguez was a member of the La Armonica Band of Buñol. After he retired from playing, hebecame the manager for the society’s buildings. When I first lived in Buñol in 1996 we became goodfriends and sometimes took walking excursions together.<br> <br> Bill Maloof was my first boss as he was Chair of Composition during my first ten years as a facultymember at Berklee College of Music in Boston.<br> <br> Nedo Pandolfi was considered a great musical force in Rhode Island. His last concert with the Rhode Island Philharmonic Orchestra in 1983 was my first performance with the orchestra. At that time heplayed French Horn but his original instrument was trumpet.<br> <br> Year of the Trumpeter was premiered March 8, 2014 by Antonio Cambres Rodriguez and the CIM La Armonica, David Fiuza, Conductor in Buñol (Valencia), Spain. The version for trumpet and piano was premiered in Magallon, Spain, July 2017 by Antonio Cambres with the composer playing piano. The band version was recorded by Cambres and the CIM La Armonica, David Fiuza, Conductor. It is on the CD Music for Wind Orchestraon La Armonica Records.<br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Reneé Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.<br> <br> Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.<br> <br> He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.<br> <br> He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$15.00
13.72 €
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Trumpet, Piano
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Gregory Fritze
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The Year of the Trumpeter
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Musica Nova USA
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.63 €
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Piano solo
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.63 €
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Piano solo
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Melody: Sequences educational pack - Perform Compose Understand PCU Series
Large Ensemble - Level 3 - Digital Download SKU: A0.569828 Composed by Austin Ralph…
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Large Ensemble - Level 3 - Digital Download SKU: A0.569828 Composed by Austin Ralphson. Instructional. Score and parts. 50 pages. Austin Ralphson #4596427. Published by Austin Ralphson (A0.569828). Melody: Sequences - Perform, Compose, Understand Series. This pack comprises a piece called Thanks, Ludwig, worksheets and questions which relate to the piece. It is all about understanding melodic sequences.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: MELODY backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top. How to use this resourceThis pack comprises three stages, the third of which should be gained from success with the first two:1. PerformingAn original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.2. ComposingWorksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.3. Understanding Summary worksheets are provided to enable students to demonstrate their understanding of the topic.There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.Printing and CopyingThe purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:* Print which ever parts are needed to facilitate a performance* Produce a booklet containing the title page, score and worksheets.The performance piece could also be used for the performing component of your examined course as well if appropriate.** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **
$5.99
5.48 €
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Austin Ralphson
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Melody: Sequences educational pack - Perform Compose Understand PCU Series
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Austin Ralphson
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SheetMusicPlus
Melody: Conjunct and Disjunct educational pack - Perform Compose Understand PCU Series
Large Ensemble - Level 3 - Digital Download SKU: A0.569829 Composed by Austin Ralph…
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Large Ensemble - Level 3 - Digital Download SKU: A0.569829 Composed by Austin Ralphson. Instructional. Score and parts. 52 pages. Austin Ralphson #4600767. Published by Austin Ralphson (A0.569829). Melody: Conjunct and Disjunct - Perform, Compose, Understand Series. This pack comprises a piece called Mind The Gap, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean. So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: MELODY backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top. How to use this resourceThis pack comprises three stages, the third of which should be gained from success with the first two:1. PerformingAn original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.2. ComposingWorksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.3. Understanding Summary worksheets are provided to enable students to demonstrate their understanding of the topic.There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.Printing and CopyingThe purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows: * Print which ever parts are needed to facilitate a performance* Produce a booklet containing the title page, score and worksheets.The performance piece could also be used for the performing component of your examined course as well if appropriate.** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **
$5.99
5.48 €
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Austin Ralphson
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Melody: Conjunct and Disjunct educational pack - Perform Compose Understand PCU Series
#
Austin Ralphson
#
SheetMusicPlus
Melody: Question Answer educational pack - Perform Compose Understand PCU Series
Large Ensemble - Level 3 - Digital Download SKU: A0.569830 Composed by Austin Ralph…
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Large Ensemble - Level 3 - Digital Download SKU: A0.569830 Composed by Austin Ralphson. Instructional. Score and parts. 87 pages. Austin Ralphson #4603377. Published by Austin Ralphson (A0.569830). Melody: Question & Answer - Perform, Compose, Understand Series. This pack comprises a piece called In Conversation, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: MELODY backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top. How to use this resourceThis pack comprises three stages, the third of which should be gained from success with the first two:1. PerformingAn original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.2. ComposingWorksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.3. Understanding Summary worksheets are provided to enable students to demonstrate their understanding of the topic.There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.Printing and CopyingThe purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:* Print which ever parts are needed to facilitate a performance* Produce a booklet containing the title page, score and worksheets.The performance piece could also be used for the performing component of your examined course as well if appropriate.** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **
$5.99
5.48 €
#
Austin Ralphson
#
Melody: Question Answer educational pack - Perform Compose Understand PCU Series
#
Austin Ralphson
#
SheetMusicPlus
Melody: Passing Notes educational pack - Perform Compose Understand PCU Series
Large Ensemble - Level 3 - Digital Download SKU: A0.569831 Composed by Austin Ralph…
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Large Ensemble - Level 3 - Digital Download SKU: A0.569831 Composed by Austin Ralphson. Instructional. Score and parts. 57 pages. Austin Ralphson #4626517. Published by Austin Ralphson (A0.569831). Melody: Passing Notes - Perform, Compose, Understand Series. This pack comprises a piece called Missing Links, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: MELODY backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top. How to use this resourceThis pack comprises three stages, the third of which should be gained from success with the first two:1. PerformingAn original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.2. ComposingWorksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.3. Understanding Summary worksheets are provided to enable students to demonstrate their understanding of the topic.There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.Printing and CopyingThe purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:* Print which ever parts are needed to facilitate a performance* Produce a booklet containing the title page, score and worksheets.The performance piece could also be used for the performing component of your examined course as well if appropriate.** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **
$5.99
5.48 €
#
Austin Ralphson
#
Melody: Passing Notes educational pack - Perform Compose Understand PCU Series
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Austin Ralphson
#
SheetMusicPlus
Melody: Ornaments educational pack - Perform Compose Understand PCU Series
Large Ensemble - Level 3 - Digital Download SKU: A0.569833 Composed by Austin Ralph…
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Large Ensemble - Level 3 - Digital Download SKU: A0.569833 Composed by Austin Ralphson. Instructional. Score and parts. 52 pages. Austin Ralphson #4628387. Published by Austin Ralphson (A0.569833). Melody: Ornaments - Perform, Compose, Understand Series. This pack comprises a piece called Take It In Turns, worksheets and questions which relate to the piece. It is all about understanding ornamentation.Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote – literally be learning one note followed by another – without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.So who is this book for?It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.You can also download backing tracks of all pieces in this series by searching:Classroom Performance educational pack: MELODY backing tracksThese contain parts 2-5, allowing part 1 to be played live over the top.How to use this resourceThis pack comprises three stages, the third of which should be gained from success with the first two:1. PerformingAn original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.2. ComposingWorksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.3. Understanding Summary worksheets are provided to enable students to demonstrate their understanding of the topic.There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.Printing and CopyingThe purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:* Print which ever parts are needed to facilitate a performance* Produce a booklet containing the title page, score and worksheets.The performance piece could also be used for the performing component of your examined course as well if appropriate.** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **
$5.99
5.48 €
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Austin Ralphson
#
Melody: Ornaments educational pack - Perform Compose Understand PCU Series
#
Austin Ralphson
#
SheetMusicPlus
Die Walkure
Piano, Voice
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal…
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q25919. Published by Schott Music - Digital
German.<br> <br> An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.<br> <br> The score corresponds to the performance materials from the Complete Edition.<br> For practical use in rehearsal cues and bar numbers throughout.<br> The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.<br> The forewords are given in three languages(German, English, French).<br> Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.<br> <br> DIE WALKURE<br> <br> In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.<br> <br> The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.<br> <br> (Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)
$53.99
49.39 €
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Piano, Voice
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Richard Wagner (1813-1883)
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Die Walkure
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Schott Music - Digital
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SheetMusicPlus
Contemporary Anthology of Solo Guitar Music
Guitar
Guitar (classical) - Intermediate-Advanced - Digital Download For Five Fingers of the…
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Guitar (classical) - Intermediate-Advanced - Digital Download For Five Fingers of the Right Hand. Composed by Charles Postlewate. Contemporary. Classic. E-book. 158 pages. Mel Bay Publications - Digital Sheet Music #21290EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609746599.<br> <br> This is the first compilation of guitar music specifically composed for right-hand technique that includes the little finger. The 57 compositions include original pieces in the Easy-Intermediate to Intermediate -Advanced levels by renowned guitarist/composers from Europe, North America, South America and the Caribbean. Music by Ernesto Cordero, Carlos Dorado, Jim Ferguson, David Flynn, Gerald Garcia, John Hall, Ricardo Iznaola, James Lentini, John Oliver, Charles Postlewate, Mirko Schrader, Burkhard Buck Wolters and Luis Zea show the advantages of a five-finger technique in the playing of scales, chords, arpeggios, tremolos and harmonics. They also show the advantages of using the little finger for speed, accuracy, strength and balance. All of these compositions are edited and fingered by Postlewate, pioneer in the use of a five-finger technique. This book is a companion to Anthology of Nineteenth Century Guitar Studies for Five Fingers of the Right Hand (MB21153), compiled and fingered by Leonhard Beck and edited by Charles Postlewate. Standard notation only. In English and Spanish.
$22.99
21.03 €
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Guitar
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Charles Postlewate
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Contemporary Anthology of Solo Guitar Music
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
The Complete Organist, Vol. 2
Organ
Organ 2-staff - Moderately easy - Digital Download Accessible Service Music for the C…
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Organ 2-staff - Moderately easy - Digital Download Accessible Service Music for the Church Year. Composed by Various. Edited by Carson Cooman. Sacred, Advent, All Saints' Day, Ascension, Christmas, Easter, Epiphany, General, Communion, Holy Week, Lent, Missions, New Year, Pentecost, Patriotic, Reformation, Thanksgiving. Organ. 152 pages. Lorenz Publishing Company #70/2013L. Published by Lorenz Publishing Company
ISBN 9780787755539.<br> <br> Comprised of music for almost every occasion of the church year, this publication is a hearty and abundant resource of approachable organ music. Like the first volume, it is a godsend for those planning their church year and enriching their organ library. Of the forty-nine pieces contained within, thirty-one are newly composed for this volume.
$48.00
43.91 €
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Organ
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Various
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The Complete Organist, Vol. 2
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Lorenz Publishing Company
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SheetMusicPlus
The Jazz Improvisation Workshop - Volume I
Musical course - Solfege
Composed by Tony Benade. Arranged by Tony Benade. Jazz, Swing, Bebop, Method, Etudes an…
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Composed by Tony Benade. Arranged by Tony Benade. Jazz, Swing, Bebop, Method, Etudes and Exercises. 119 pages. Published by Tony Benade
?The Jazz Improvisation Workshop? is an entry level music theory workbook for the intermediate and advance student who wishes to learn the theoretical components that are applied in the performance of jazz. The musical "mechanics" of music are the essence of its contents. Scales and chords of all forms are shown and explained in a simplified manner and comprehensive manner. Areas of music theory such as the Cycle of Fifths and the theory of Chord Substitution are also explained in detail.
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$40.00
36.59 €
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The Jazz Improvisation Workshop - Volume I
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