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You've selected:
Orange Textures
Sheetmusic to print
6 sheet music found
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1
Orange Textures
Harp, Cello (duet)
Instrumental Duet Cello,Harp,Instrumental Duet - Level 4 - Digital Download SKU: A0.808…
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Instrumental Duet Cello,Harp,Instrumental Duet - Level 4 - Digital Download SKU: A0.808986 Composed by Vincenzo Palermo. 20th Century,Contemporary. Score and parts. 25 pages. Preludio s.r.l. #6237623. Published by Preludio s.r.l. (A0.808986). Orange Textures is a piece from the Textures series written by Vincenzo Palermo for cello and harp.SCORE and PARTS available.
$15.99
14.62 €
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Harp, Cello (duet)
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Vincenzo Palermo
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Orange Textures
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Preludio s.r.l.
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SheetMusicPlus
Conversation in Orange & Brown for Euphonium & Tuba
Euphonium, Tuba (duet)
Instrumental Duet Euphonium,Instrumental Duet,Tuba - Level 4 - Digital Download SKU: A0…
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Instrumental Duet Euphonium,Instrumental Duet,Tuba - Level 4 - Digital Download SKU: A0.787300 Composed by Greg Bartholomew. 20th Century,Concert,Contemporary,Standards. Score and parts. 15 pages. Burke & Bagley #10635. Published by Burke & Bagley (A0.787300). An arrangement for euphonium & tuba of a duet originally composed for french horn & tuba, and also available for cello & double bass or as a duet for two horns. Duration approximately 8 minutes. Comments on the arrangement for Cello & Double Bass from the judges of the 2010 Recital Music Double Bass Composition Competition: This is an interesting work, exploring a range of colors and textures. The bass part, on the whole, uses the orchestral range of the instrument and would offer few technical problems for the good intermediate bassist. The double bass is used well, as both soloist, accompanist and equal partner, and the contrast of arco and pizzicato create new and interesting textures. The contrasting musical ideas are effective, and the use of solos, question and answer, and unified rhythms help to maintain interest for players and audiences alike. The cello and double bass duo is a popular ensemble with bassists and this piece would fit easily into any recital and for any audience. The changing tonalities keep the piece alive and alert. Conversation in Orange & Brown doesn't outstay its welcome and would be accessible to many musicians.
$15.00
13.71 €
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Euphonium, Tuba (duet)
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Greg Bartholomew
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Conversation in Orange & Brown for Euphonium & Tuba
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Burke & Bagley
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SheetMusicPlus
Orange Colored Sky
Saxophone Quartet: 4 saxophones
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Le…
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1439212 By Natalie Cole. By Milton Delugg and Willie Stein. Arranged by Jon Olejnik. Broadway,Contemporary,Jazz,Musical/Show,Standards. 24 pages. Jon Olejnik Music #1019203. Published by Jon Olejnik Music (A0.1439212). This saxophone quartet arrangement (ATTB) gives the top three voices a chance to solo as well as a small melody feature for the baritone. This (not too) challenging piece will be sure to keep your listeners interested! The piece contains varied textures and rhythms throughout and will serve as a staple for your ensemble.
$45.00
41.14 €
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Saxophone Quartet: 4 saxophones
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Natalie Cole
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Orange Colored Sky
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Jon Olejnik Music
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SheetMusicPlus
As Summer Fades - guitar solo
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.971635 Composed by Jeffrey Hoover.…
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Solo Guitar - Level 3 - Digital Download SKU: A0.971635 Composed by Jeffrey Hoover. 20th Century,Contemporary. Individual part. 7 pages. Musicart Publications #2021697. Published by Musicart Publications (A0.971635). As Summer Fades is a descriptive work in which composer Jeffrey Hoover musically presents the seasons’ transition. Classical guitar: 3 min. 15 sec. As the warm breeze of summer becomes cooler, the verdant foliage of trees takes on hues of red, brown, orange, and yellow gold. Melodic ideas -- brief and momentary, musical textures, instrumental timbres, and techniques all special to the guitar create this shifting autumnal scene. As with many of his other compositions, there is an interpretive painting – As Summer Fades – also created by the composer.
$9.95
9.1 €
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Guitar
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Jeffrey Hoover
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As Summer Fades - guitar solo
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Musicart Publications
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SheetMusicPlus
Foliage for Flute (or Violin) and Piano - Opus 8
Flute, Violin
Instrumental Duet Flute,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.9…
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Instrumental Duet Flute,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.918708 Composed by Daniel Carr. 20th Century,Contemporary,Standards,Video Game. Score and parts. 9 pages. Daniel Carr #29833. Published by Daniel Carr (A0.918708). Foliage is an improvisatory work based on a pitch set assignment. My wife Yumi and I premiered the piece in NYC in 2008. The initial inspiration was a choreographic flourish of hands playing upward arpeggios on the piano – each answered by flute. There is a darker middle section, where the piano provides counterpoint to a modal flute melody. My wife came up with the piece’s title – as we were living in New Jersey at the time and witnessed amazing reds, yellows and oranges of the autumn foliage. The twisting and turning of leaves floating to the ground reminded her of the changing colors and textures of this piece.
$5.00
4.57 €
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Flute, Violin
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Daniel Carr
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Foliage for Flute
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Daniel Carr
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SheetMusicPlus
Three Chromicons for piano solo
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon For…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons
The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.<br> <br> The sound sample is the live performance.<br> <br> The Three Chromicons were premiered by pianist Valentin Bogolubov at the Société de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).<br> <br> Ford explains the significance of these unique scores:<br> <br> "In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrôma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."<br> <br> "By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."<br> <br> "Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."<br> <br> "Now, anyone wishing to realize a chromicon is at liberty to follow any path—straight or curvilinear—from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."<br> <br> "Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."<br> <br> Video of Chromicon III<br> https://www.youtube.com/watch?v=VHMw-vzZlGE
$12.00
10.97 €
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Piano solo
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Joseph Dillon Ford
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Three Chromicons for piano solo
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David Warin Solomons
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SheetMusicPlus
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