Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
806
Digital
Sheet Music
22,894
Sheet Music
Books
18,999
Music
Equipment
3,793
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
Not classified
2748
PIANO & KEYBOARDS
Piano solo
2091
Easy Piano
1282
Piano, Voice
364
Piano, Vocal and Guitar
311
Organ
115
C Instruments
99
Piano Accompaniment
86
1 Piano, 4 hands
62
Big Note Piano
52
Piano (band part)
20
Accordion
19
Piano Trio: piano, violin, cello
17
2 Pianos, 4 hands
15
Harpsichord
15
Piano Quartet: piano, violin, viola, cello
12
Piano Quintet: piano, 2 violins, viola, cello
5
Organ, Piano (duet)
4
1 Piano, 6 hands
3
2 Pianos, 8 hands
3
Accordion ensemble
3
Keyboard
3
Accordion, Voice
2
Piano Quartet: piano, 2 violins, cello
1
Instrumentations suivantes
Retracter
GUITARS
Guitar notes and tablatures
888
Ukulele
467
Guitar
248
Piano, Guitar (duet)
119
Melody line, (Lyrics) and Chords
87
Guitar (band part)
44
Bass guitar
24
Lyrics and Chords
24
2 Guitars (duet)
17
4 Guitars (Quartet)
15
Banjo
13
Mandolin
12
Electric Bass (band part)
9
3 Guitars (trio)
8
Dulcimer
7
Guitar Ensemble
4
Band Scores
3
Baritone Ukulele
2
2 Ukuleles
1
2 Dulcimers (duet)
1
Instrumentations suivantes
Retracter
VOICE
Choral SATB
611
Choral 2-part
258
Choral 3-part
241
Choral TTBB
70
Choral SSAA
51
Choral Unison
34
Choral
31
Vocal duet
22
Vocal duet, Piano
20
Voice solo
17
Choral SSAATTBB
9
Soprano voice, Piano
6
Alto voice, Piano
4
High voice
4
Tenor voice
3
Choral SSATTB
2
Medium voice, Piano
2
Tenor voice, Piano
2
Mezzo-Soprano voice, Piano
1
Choral SSATB
1
Choral SSATBB
1
Instrumentations suivantes
Retracter
WOODWIND
Flute and Piano
297
Oboe, Piano (duet)
269
Saxophone (band part)
256
Clarinet
238
Saxophone Quartet: 4 saxophones
201
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
193
Alto Saxophone and Piano
193
Tenor Saxophone and Piano
171
Flute, Oboe, Clarinet, Bassoon
144
Clarinet and Piano
131
Saxophone Quintet: 5 Saxophones
125
Flute
119
2 Saxophones (duet)
97
Clarinet Quartet: 4 clarinets
72
Alto Saxophone
71
Clarinet (band part)
71
Oboe (band part)
61
2 Flutes (duet)
54
2 Clarinets (duet)
43
Flute Quartet: 4 flutes
40
Clarinet Ensemble
40
Saxophone
39
Soprano Saxophone and Piano
37
Flute (band part)
33
Clarinet Quintet: 5 clarinets
33
Flute ensemble
30
Tenor Saxophone
27
Saxophone ensemble
27
3 Clarinets (trio)
26
Recorder
26
Flute Trio: 3 flutes
25
2 Recorders (duet)
22
Baritone Saxophone, Piano
20
Flute and Guitar
20
Flute, Clarinet (duet)
20
Flute Quintet : 5 flutes
19
3 Saxophones (trio)
17
Descant (Soprano) Recorder
17
Saxophone, Clarinet (duet)
16
Harmonica
14
Oboe, Bassoon (duet)
13
Clarinet, Violin (duet)
13
Oboe
12
Clarinet, Bassoon (duet)
11
Oboe, Cello
11
Flute, Violin
11
Clarinet and Viola
11
Flute, Violoncello
11
2 Oboes (duet)
11
Oboe, Clarinet (duet)
9
Flute, Clarinet and Bassoon.
9
Clarinet, Trumpet (duet)
9
Clarinet, Cello (duet)
9
Treble (Alto) Recorder
9
Flute, Clarinet, Horn and Bassoon (Quartet)
8
Recorder Quartet
7
Flute, Oboe, Bassoon
7
Flute, Trumpet (duet)
6
Flute, Saxophone (duet)
6
Oboe, Flute
6
English horn, Piano
6
Clarinet, Guitar (duet)
5
Ocarina
5
Flute, Oboe, Clarinet (trio)
5
English Horn
5
Tenor Recorder
5
Flute, Viola (duet)
5
Bass Clarinet, Piano
5
Oboe, Guitar (duet)
4
Clarinet, Harp (duet)
4
Oboe and viola (duet)
4
Saxophone and Harp
4
Flute, Oboe (duet)
3
Treble (Alto) Recorder, Piano
3
Oboe, Harp
3
Pennywhistle
3
Flute, Violin, Piano
2
Clarinet, Cello, Piano (trio)
2
Flute, harp and violin
2
Piccolo
2
Oboe, Violin (duet)
2
Flute, Clarinet, Piano (trio)
2
Bass Clarinet
2
Saxophone and Guitar
2
Piccolo, Piano
2
3 Recorders (trio)
2
Baritone Saxophone
2
2 Flutes, Piano
2
Soprano Saxophone
1
Bagpipe
1
5 Recorders
1
Flute, Violin and Violoncello
1
Flute, Oboe, Piano (trio)
1
English Horn, Guitar (duet)
1
Flute, Cello, Piano (trio)
1
Flute, Violin, Violoncello and Piano
1
Flute and Strings Trio
1
2 Oboes, 2 Horns and 2 Bassoons
1
2 Flutes and Harp
1
Oboe, Bassoon and Piano
1
Flute and String Quartet
1
Oboe, Clarinet, Bassoon (trio)
1
Flute, Harp and Cello
1
Instrumentations suivantes
Retracter
WOODBRASS
Brass Quintet: 2 trumpets, horn, trombone, tuba
221
Trombone and Piano
197
Trumpet
191
Trombone (band part)
157
Trumpet, Piano
154
Trumpet (band part)
146
Brass quartet : 2 trumpets, trombone, tuba
100
Brass Quartet
78
Trombone
78
French horn (band part)
54
French horn
51
French Horn and Piano
42
Tuba (band part)
38
2 Trumpets (duet)
27
Brass Quartet: 2 trumpets, horn, trombone
27
2 Trombones (duet)
26
Tuba
22
Tuba and Piano
21
Brass Quartet: 4 trombones
19
Trumpet, Saxophone (duet)
18
Trumpet ensemble
18
Euphonium, Piano (duet)
17
Trombone ensemble
17
Trumpet, Trombone (duet)
15
3 Trombones (trio)
9
2 French horns (duet)
9
2 Euphoniums and 2 Tubas
8
Trumpet, Cello (duet)
8
2 Tubas (duet)
7
Brass Trio
6
Bass Trombone
6
Horn Ensemble
6
English horn, Piano
6
Brass Quartet: 4 horns
5
English Horn
5
Euphonium
5
Tuba and Organ
4
Trumpet, violin (duet)
4
Horn, Cello (duet)
3
Trumpet, Bassoon (duet)
3
Trumpet, Harp
3
Bb Instruments
2
3 Trumpets (trio)
2
French horn and Basson (duet)
2
French Horn and Harp
2
4 Tubas
2
Brass Quartet: 2 trumpets, 2 trombones
2
Trumpet, Euphonium (duet)
1
Trumpet, Trombone, Piano
1
English Horn, Guitar (duet)
1
Euphonium, Tuba (duet)
1
Bass Trombone and Piano
1
Tuba or Euphonium or Saxhorn
1
Trumpet, Horn (duert)
1
Tuba ensemble
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
461
Violin and Piano
297
Cello, Piano
258
Viola, Piano
238
Harp
213
Violin
184
Cello (band part)
107
String Quintet: 2 violins, viola, cello, bass
98
Violin (band part)
93
Viola
85
Violin, Cello (duet)
63
2 Harps (duet)
57
Doublebass (band part)
55
2 Violins (duet)
50
Cello
49
String Trio: violin, viola, cello
45
Viola (band part)
38
2 Cellos (duet)
38
Double Bass
27
String Trio: 2 violins, cello
25
Violin, Viola (duet)
23
Double bass, Piano (duet)
18
2 Violas (duet)
17
4 Cellos
13
Harp, Flute (duet)
11
String Trio: 3 violins
8
Violin, Guitar (duet)
7
Viola, Cello (duet)
7
2 Double basses (duet)
7
Violin, Bassoon (duet)
7
Piano Trio: Violin, Viola, Piano
7
String Trio: 3 cellos
6
String Quintet: 2 violins, viola, 2 cellos
5
String quartet: 4 violins
4
Viola and Bassoon
4
Harp, Cello (duet)
4
Violin ensemble
4
Viola ensemble
3
Viola, Guitar (duet)
3
Cello, String Bass (duet)
3
Viola and Harp
3
String Trio: 2 violins, viola
3
4 Harps
3
Harp, Violin (duet)
3
Harp, Voice
3
Harp, Violin, Violoncello
2
2 Violins, Piano
2
String Quintet: 2 violins, 2 violas, cello
2
Violoncello, Basso continuo
2
String Quartet : 4 violas
2
Cello, Guitar (duet)
2
Harp and mandolin
1
Harp and Piano
1
Flute, Doublebass (duet)
1
2 Cellos, Piano
1
Harp and Organ
1
Violin, Trumpet and Piano
1
Harp, Trombone (duet)
1
3 Harps
1
Cello, Orchestra
1
Cello Ensemble
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Concert band
2347
String Orchestra
419
Orchestra
265
Jazz Ensemble
196
Handbells
143
Brass ensemble
89
Chamber Orchestra
89
Drum (band part)
67
Percussion (band part)
64
Marching band
63
Percussion Ensemble
30
Drums
25
Jazz combo
17
Marimba
10
Flexible Instrumentation
6
Percussion
5
Xylophone, Piano
4
Piano and Orchestra
4
Vibraphone
3
Timpani
3
Woodwind Quintet
2
Cajon
2
Woodwind Quartet: any 4 woodwinds
2
Timpani (band part)
2
Xylophone
2
Brass Quintet: other combinaisons
1
Instrumentations suivantes
Retracter
OTHERS
Musical course - Solfege
1
You've selected:
The Sound of Music
Sheetmusic to print
22,894 sheet music found
<
1
26
51
....
9976
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.09 €
#
Piano and Orchestra
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
The Sound Of Silence
Piano solo
Piano Solo - Level 1 - Digital Download SKU: A0.809406 By Simon And Garfunkel. By P…
(+)
Piano Solo - Level 1 - Digital Download SKU: A0.809406 By Simon And Garfunkel. By Paul Simon. Arranged by Academia Unimusica. Pop,Rock. Score. 1 pages. Unimusic Academy (Academia Unimusica) #6251769. Published by Unimusic Academy (Academia Unimusica) (A0.809406). The Sound of Silence, originally The Sounds of Silence, is a song by the American music duo Simon & Garfunkel. The song was written by Paul Simon over several months in 1963 and 1964. A studio audition led to the duo signing a record deal with Columbia Records, and the original 'acoustic' version of the song was recorded in March 1964 at Columbia Studios in New York City and included on their debut album, Wednesday Morning, 3 A.M.. Released on October 19, 1964,[2] the album was a commercial failure and led to the duo disbanding; Simon returned to England, and Art Garfunkel to his studies at Columbia University. In 1965, the song began to attract airplay at radio stations in Boston, Massachusetts, and throughout Florida. The growing airplay led Tom Wilson, the song's producer, to remix the track, overdubbing electric instruments and drums. This remixed version was released as a single in September 1965. Simon & Garfunkel were not informed of the song's remix until after its release. The song hit No. 1 on the Billboard Hot 100 for the week ending January 1, 1966, leading the duo to reunite and hastily record their second album, which Columbia titled Sounds of Silence in an attempt to capitalize on the song's success. The remixed single version of the song was included on this follow-up album. It was featured in the 1967 film The Graduate and was included on the film's soundtrack album. It was additionally released on the Mrs. Robinson 'EP' in 1968, along with three other songs from the film: Mrs. Robinson, April Come She Will and Scarborough Fair/Canticle. The song was a top-ten hit in multiple countries worldwide, among them Australia, Austria, West Germany, Japan and the Netherlands. Generally considered a classic folk rock song, the song was added to the National Recording Registry in the Library of Congress for being culturally, historically, or aesthetically important in 2012, along with the rest of the Sounds of Silence album. Originally titled The Sounds of Silence on the album Wednesday Morning, 3 A.M., the song was shortened for later compilations, beginning with the 1972 compilation album Simon and Garfunkel's Greatest Hits.[3]
$8.00
7.37 €
#
Piano solo
#
Simon And Garfunkel
#
Garfunkel
#
The Sound Of Silence
#
Unimusic Academy
#
SheetMusicPlus
No other people
3(3.afl).2.ca.2.bcl.3-4.3.3.1-str orchestra - Digital Download SKU: S9.Q41782 Fo…
(+)
3(3.afl).2.ca.2.bcl.3-4.3.3.1-str orchestra - Digital Download SKU: S9.Q41782 For orchestra. Composed by Gerald Barry. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 12 minutes. Schott Music - Digital #Q41782. Published by Schott Music - Digital (S9.Q41782). The title, No other people., is taken from Raymond Roussel's New Impressions of Africa, a fifty-nine page poem which took him fifteen years to write - a length of time mainly caused by his tortuous compositional methods.In Roussel, sentences are broken down in maze-like ways, often producing others which relate to the sound of the original.I'm not aware of any direct, illustrative connection between the music of No other people. and Roussel's book. But I was very struck by the everydayness of Zo's drawings.There is something poignant in his not knowing what he was illustrating. Like the drawings of a blind person. Their banality takes on a mysteriousness by being placed by Roussel in his book, seeming to illustrate bizarre events unknown to Zo.They are impersonal, the people in them unaware that they lead another life in a poem of which they know nothing.Something of this is in the music.Gerald Barry, 2009.
$16.99
15.64 €
#
Gerald Barry
#
No other people
#
Schott Music - Digital
#
SheetMusicPlus
The Dove
String Quartet: 2 violins, viola, cello
Tenor and string quartet - Digital Download SKU: S9.Q6385 Auf Texte aus der Bibe…
(+)
Tenor and string quartet - Digital Download SKU: S9.Q6385 Auf Texte aus der Bibel. Composed by Naji Hakim. This edition: score and parts. Downloadable, Score and parts. Duration 7 minutes. Schott Music - Digital #Q6385. Published by Schott Music - Digital (S9.Q6385). German • English.This piece shows my hope to have our churches not only in peace but also in full communion. Naji Hakim Die Taube (The Dove) was commissioned by â€Kirchenmusik bei St. Anna Augsburg†to celebrate the 450th anniversary of the Augsburger Religionsfrieden (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : â€And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. †Luk. 1/79 : â€To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. †Joh.14/27 : â€Peace I leave with you, my peace I give unto you. †...to guide our feet into the way of peace. (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, Let God´s melody resound in you. The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, I am with you always, even to the end of the age. (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace. Pastor Hanne Margrethe Tougaard.
$22.99
21.17 €
#
String Quartet: 2 violins, viola, cello
#
Naji Hakim
#
The Dove
#
Schott Music - Digital
#
SheetMusicPlus
En Face Du Miroir (Facing The Mirror)
Piano solo
Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, …
(+)
Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, Jazz, Recital, Americana, New Age. Sheet Music Single. 11 pages. Published by Mainya Music Publishing (BMI)
Contains:<br> "En Face Du Miroir (Facing The Mirror)"<br> - taken from the Isadar solo piano complete collection, "Red" (also available on SMP)<br> <br> Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists<br> <br> Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording<br> <br> Album & Songbook Review by: Kathy Parsons<br> <br> Red is pianist/composer Isadar’s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar’s best piano pieces; O Christmas, Isadar’s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.<br> <br> I have been reviewing and thoroughly enjoying Isadar’s releases since his second piano album, 1999’s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar’s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.<br> <br> Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar’s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.<br> <br> Red opens with “Broken Valentine,” a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. “The Man Who Broke My Heart” is energetic and in constant swirling motion - also very free and from deep within. “The Stairwell” is darker and much more mysterious, overflowing with Isadar’s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute “Letting Go,” a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! “En Face Du Miroir (Facing the Mirror)” is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with “Blood ... Thicker Than Water,” again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.<br> <br> Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!<br> <br> Isadar’s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar’s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.<br> <br> Isadar is an amazing pianist with a style all his own, so this isn’t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.<br> <br> Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9”x12” format with a stapled binding.<br> <br> If you enjoy listening to Isadar’s music, I’m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!<br> <br> The songs with their key signatures and the number of pages is listed below:<br> <br> Broken Valentine - C minor (3 flats) - 4 pages<br> Red - A minor (0 sharps or flats) - 5 pages<br> The Man Who Broke My Heart - A minor - 6 pages<br> The Stairwell - F# minor (3 sharps) - 7 pages<br> Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages<br> En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages<br> Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages<br> <br> Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...<br> <br> Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.<br> <br> For more information, visit his website at: http://www.isadar.com
$5.99
5.52 €
#
Piano solo
#
Isadar
#
En Face Du Miroir
#
Mainya Music Publishing
#
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…
(+)
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
35.87 €
#
Piano solo
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
#
Musik Fabrik Music Publishing
#
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…
(+)
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
35.87 €
#
Piano solo
#
Claude Debussy/Robert Orledge
#
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
The Lonely Goatherd from the Sound of Music
Choral 2-part
Choral Choir (SA) - Level 2 - Digital Download SKU: A0.782609 Composed by Richard R…
(+)
Choral Choir (SA) - Level 2 - Digital Download SKU: A0.782609 Composed by Richard Rodgers. Arranged by Ashlee T Busch. Broadway,Film/TV. Octavo. 5 pages. Ashlee T Busch #3542659. Published by Ashlee T Busch (A0.782609). Remember the scene in The Sound of Music where all the kids are gathered around the giant puppet show theater? Here's the song! Presented here in an abridged version, enjoy the bouncy Lonely Goatherd! This song is a challenge for the intermediate performer due to its fast pace. Feel free to go as quickly as you'd like! Lyrics are included so you can yodel along!
$4.99
4.59 €
#
Choral 2-part
#
Richard Rodgers
#
The Lonely Goatherd from the Sound of Music
#
Ashlee T Busch
#
SheetMusicPlus
Personalizing Jazz Vocabulary
Musical course - Solfege
Theory and reference - other - Intermediate-Advanced - Digital Download Composed by D…
(+)
Theory and reference - other - Intermediate-Advanced - Digital Download Composed by Davy Mooney. Jazz and Contemporary. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30786MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619119345.<br> <br> This method book is designed to help intermediate to advanced jazz students incorporate classic jazz vocabulary into their original improvisations. Using a series of standard and modern chord progressions, guitarist Davy Mooney provides several short passages that are meant to be played exactly as written within an otherwise improvised solo; students are expected to adapt this written material to their own purposes by improvising into and out of it.In an effort to overcome the disconnect between developing a unique sound and learning the language of past jazz masters, the author eloquently analyzes several phrases and chord changes and comments on various aspects of improvisation, referencing the styles and specific recordings of many outstanding jazz artists. This is the method that Mooney used as a student to personalize his own jazz vocabulary and learn to express himself within the context of the jazz tradition.Mooney proves he has both the vocabulary and the chops to deliver generously repeated guitar/bass/drums backup tracks for student use; he then demonstrates the method by providing transcriptions of his own improvisations, incorporating the same phrases and chord progressions required of the student. The firm message conveyed by this book is that, ayou can do it too.aWritten in standard notation only. Includes access to online audio.
$17.99
16.57 €
#
Musical course - Solfege
#
Davy Mooney
#
Personalizing Jazz Vocabulary
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Guitar Compendium
Guitar
Technique / improvisation / musicianship / theory. This edition: method. Instrumenta…
(+)
Technique / improvisation / musicianship / theory. This edition: method. Instrumentalunterricht, Gitarre, Theorie. The Praxis System. Downloadable. Op. Vol. 1. Advance Music #Q54672. Published by Advance Music
English.<br> <br> Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or
$23.99
22.09 €
#
Guitar
#
Guitar Compendium
#
Advance Music
#
SheetMusicPlus
Enjoy the Recorder
Descant (Soprano) Recorder
Treble recorder - Digital Download A comprehensive method for group, individual and s…
(+)
Treble recorder - Digital Download A comprehensive method for group, individual and self tuition. This edition: student's book. Downloadable. Op. Vol. 1. Schott Music - Digital #Q52142. Published by Schott Music - Digital
The best way to learn any instrument is to have lessons from a good, experienced teacher. Although, happily, the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves.<br> This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own method at each stage. The less experienced willbenefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation.<br> Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books, taking plenty of time to assimilate each point before moving on. For them, without the personal model provided by a live teacher, it is vitally important to listen as often as possible to fine players, in person or on record, so that they have in their mind's ear a clear notion of the kind of sound they would like to produce.<br> But however they start, I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle, delightful and sociable of instruments. (Brian Bonsor)<br> <br> &ldquo....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken&ldquo. (Oliver James, Contact Magazine)<br> <br> These two tutors, with accompanying teacher's books, are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.
$15.99
14.72 €
#
Descant (Soprano) Recorder
#
Enjoy the Recorder
#
Schott Music - Digital
#
SheetMusicPlus
The Lonely Goatherd from the Sound of Music (for flute choir)
Flute ensemble
Flute, Woodwind Choir or Ensemble, Flute Choir (Piccolo, Flute 1, 2, and 3, Alto, Ba…
(+)
Flute, Woodwind Choir or Ensemble, Flute Choir (Piccolo, Flute 1, 2, and 3, Alto, Bass, and Contrabass) - Advanced Intermediate - Digital Download By Rodgers & Hammerstein. Arranged by Ralph Raymond Hays. Score, Set of Parts. 20 pages. Published by Ralph Raymond Hays
This spritely and delightful tune from Rodger's and Hammerstein's beloved THE SOUND OF MUSIC is masterfully and lovingly adapted for flute choir by an arranger who once portrayed Friedrich von Trapp in a theatrical production.
$12.99
11.96 €
#
Flute ensemble
#
Rodgers & Hammerstein
#
Hammerstein
#
The Lonely Goatherd from the Sound of Music
#
Ralph Raymond Hays
#
SheetMusicPlus
Musica seria
Organ
Organ - difficult - Digital Download Per organo. Composed by Peteris Vasks (1946-). T…
(+)
Organ - difficult - Digital Download Per organo. Composed by Peteris Vasks (1946-). This edition: Sheet music. Downloadable. Duration 16 minutes. Schott Music - Digital #Q3032. Published by Schott Music - Digital
Peteris Vasks has written compositions for organ again and again, whether original works or arrangements of his own works for strings. He drew his ideal sound image and his inspiration from the famous organ of the Cathedral in Riga where the composer has been living for a long time. Like in almost all his compositions, the basic idea of 'Musica seria' is the personal human examination of Creation: on the one hand the beauty of Nature, on the other hand the destruction of Nature by man.<br> Vasks' organ music does not provide any great difficulties but rather displays an impressive tonal variety of the most intimate, held back sounds to tremendous chordal eruptions.
$16.99
15.64 €
#
Organ
#
Peteris Vasks
#
Musica seria
#
Schott Music - Digital
#
SheetMusicPlus
The Sound Of Music
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.720460
(+)
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.720460 Composed by Richard Rodgers. Arranged by Ralph Raymond Hays. Broadway,Film/TV,Musical/Show. 8 pages. Ralph Raymond Hays #3424721. Published by Ralph Raymond Hays (A0.720460). Lovingly crafted by an arranger who once portrayed Friedrich Von Trapp in a theatrical production, this setting of one of Rodgers and Hammerstein’s most recognized and cherished tunes is certain to captivate performers and audience members alike. The introduction will evoke images of alpine vistas and an obligato will bring to mind the semblance of a laughing brook. Rodgers’ vaulting melody and lush, piquant harmonies are further enriched by the arranger’s ornamental countermelodies and tonal embellishments. Sounding both familiar and fresh to the engaged listener, and befitting myriad occasions, this arrangement of The Sound of Music will enhance the repertoire of any ensemble.This arrangement can be combined with others to form a Sound of Music Suite. :https://www.sheetmusicplus.com/search?Ntt=brass+quintet+sound+of+music+ralph+Raymond+hays
$12.99
11.96 €
#
Brass Quintet: 2 trumpets, horn, trombone, tuba
#
Richard Rodgers
#
The Sound Of Music
#
Ralph Raymond Hays
#
SheetMusicPlus
The Sound Of Music
Clarinet Ensemble
Clarinet Choir,Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Leve…
(+)
Clarinet Choir,Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.720556 Composed by Richard Rodgers. Arranged by Ralph Raymond Hays. Broadway,Film/TV,Musical/Show. 15 pages. Ralph Raymond Hays #3603305. Published by Ralph Raymond Hays (A0.720556). Lovingly crafted by an arranger who once portrayed Friedrich Von Trapp in a theatrical production, this setting of one of Rodgers and Hammerstein’s most recognized and cherished tunes is certain to captivate performers and audience members alike. The introduction will evoke images of alpine vistas and an obligato will bring to mind the semblance of a laughing brook. Rodgers’ vaulting melody and lush, piquant harmonies are further enriched by the arranger’s ornamental countermelodies and tonal embellishments. Sounding both familiar and fresh to the engaged listener, and befitting myriad occasions, this arrangement of The Sound of Music will enhance the repertoire of any ensemble. This arrangement can be combined with Prof. Hays' other arrangements to form a SOUND OF MUSIC Suite:https://www.sheetmusicplus.com/publishers/ralph-raymond-hays-sheet-music/3002340?narrow_by=the+sound...
$12.99
11.96 €
#
Clarinet Ensemble
#
Richard Rodgers
#
The Sound Of Music
#
Ralph Raymond Hays
#
SheetMusicPlus
The Sound of Music (for String Orchestra)
By Rodgers & Hammerstein. Arranged by Stephen DeCesare. 20th Century, Broadway, Musicals, …
(+)
By Rodgers & Hammerstein. Arranged by Stephen DeCesare. 20th Century, Broadway, Musicals, Movies, TV. Score. 30 pages. Published by Exultet Music (H0.100595-767700). - Score - 20th Century,Broadway,Musicals,Movies,TV - Exultet Music
$12.99
11.96 €
#
Rodgers & Hammerstein
#
The Sound of Music
#
Exultet Music
#
SheetMusicPlus
Enjoy the Recorder
Treble (Alto) Recorder, Piano
Treble recorder and piano - Digital Download SKU: S9.Q50454 A Comprehensive Tuto…
(+)
Treble recorder and piano - Digital Download SKU: S9.Q50454 A Comprehensive Tutor Book for Groups, Individuals, or Self-learning. This edition: teacher's book. Downloadable, Teacher's edition. Op. Vol. 2. Schott Music - Digital #Q50454. Published by Schott Music - Digital (S9.Q50454). English.The best way to learn any instrument is to have lessons from a good, experienced teacher. Although, happily, the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves. This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own mathod at each stage. The less experienced willbenefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation. Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books, taking plenty of time to assimilate each point before moving on. For them, without the personal model provided by a live teacher, it is vitally important to listen as often as possible to fine players, in person or on record, so that they have in their mind's ear a clear notion of the kind of sound they would like to produce. But however they start, I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle, delightful and sociable of instruments. (Brian Bonsor) “...this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken“ (Oliver James, Contact Magazine) These two tutors, with accompanying teacher's books, are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.
$23.99
22.09 €
#
Treble (Alto) Recorder, Piano
#
Enjoy the Recorder
#
Schott Music - Digital
#
SheetMusicPlus
Enjoy the Recorder
Treble (Alto) Recorder, Piano
Treble recorder and piano - Digital Download SKU: S9.Q54256 Eine umfassende Schu…
(+)
Treble recorder and piano - Digital Download SKU: S9.Q54256 Eine umfassende Schule für Gruppen-, Einzel- und Selbstunterricht. This edition: teacher's book. Downloadable, Teacher's edition. Op. Vol. 1. Schott Music - Digital #Q54256. Published by Schott Music - Digital (S9.Q54256). English.The best way to learn any instrument is to have lessons from a good, experienced teacher. Although, happily, the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves. This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own mathod at each stage. The less experienced willbenefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation. Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books, taking plenty of time to assimilate each point before moving on. For them, without the personal model provided by a live teacher, it is vitally important to listen as often as possible to fine players, in person or on record, so that they have in their mind's ear a clear notion of the kind of sound they would like to produce. But however they start, I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle, delightful and sociable of instruments. (Brian Bonsor) “...this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken“ (Oliver James, Contact Magazine) These two tutors, with accompanying teacher's books, are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.
$23.99
22.09 €
#
Treble (Alto) Recorder, Piano
#
Enjoy the Recorder
#
Schott Music - Digital
#
SheetMusicPlus
Moonlight Sound Design (Downloadable)
3 or 4 soprano soli, SSAA choir (choir divisi), and piano - Medium - Digital Download S…
(+)
3 or 4 soprano soli, SSAA choir (choir divisi), and piano - Medium - Digital Download SKU: MQ.1.3564-E Composed by Raimonds Tiguls. 14 pages. Duration 4 minutes, 10 seconds. Galaxy Music Corporation - Digital #1.3564-E. Published by Galaxy Music Corporation - Digital (MQ.1.3564-E). English.The SATB version of Moonlight Sound Design was commissioned and premiered by the youth choir KamÄ“r conducted by MÄris Sirmais in Riga, Latvia in 2012. In the USA, it was performed by the Wartburg Choir conducted by Lee Nelson at the 2017 National Convention of the American Choral Directors Association in Minneapolis, Minnesota. Moonlight Sound Design is dedicated to my father who died by way of an accident. The title of the piece is inspired by the fact that the studio I have is in my father’s country house in an attic room, and the night moon shines directly into it.Moonlight Sound Design is here arranged for 3 or 4 Soprano Soli, SSAA Chorus and piano accompaniment. It can also be accompanied by Hang* (available as a free download, and adaptable to other instruments such as Guitar or Vibraphone). The piece should not sound sad, but rather ethereal. It is more about longing than sadness. To create a more ethereal mood, the soloists may be staggered throughout the audience, if possible. This will also provide more dimension to the sound. The Alto section should sing the pitches in bars 5–23 and bars 38–56 with a “didgeridoo†effect.*The Hang (pronunced haÅ‹ in German) is a musical instrument created by Felix Rohner and Sabina Schärer in Bern, Switzerland. Its name comes from the Bernese-German word for “hand.†The instrument is constructed from two half-shells of deep-drawn, nitrided steel sheets glued together at the rim, leaving the inside hollow, and creating a distinct “UFO†shape. The top (“Dingâ€) side has a center “note†hammered into it, and seven “tone fields†hammered around the center. -Raimonds TigulsDuration: 4:10.
$2.85
2.62 €
#
Raimonds Tiguls
#
Moonlight Sound Design
#
Galaxy Music Corporation - Digital
#
SheetMusicPlus
The Master Singers of Nuremberg
Piano, Voice
Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erst…
(+)
Opera. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 235\' 0. Schott Music - Digital #Q17852. 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. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG “Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera’s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche’s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ‘magnificent, ornate and ponderous art’ and Wagner’s music in general as being ‘rough and coarse’. This music according to Nietzsche possesses ‘no trace of the fine southern clarity of the sky and nothing of grace’, but instead ‘a cumbersome garb, with a touch of licentious barbarism and solemnity’ and ‘even a certain degree of ungainliness’. Nietzsche’s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott’s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. […] When the saying ‘the music sets the tone’ is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.” (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).
$59.99
55.24 €
#
Piano, Voice
#
Richard Wagner
#
The Master Singers of Nuremberg
#
SheetMusicPlus
Life is Beautiful
Easy Piano
Piano Solo - Easy/Beginner - Digital Download Composed by Louis Landon. 21st Century,…
(+)
Piano Solo - Easy/Beginner - Digital Download Composed by Louis Landon. 21st Century, New Age. Sheet Music Single. 4 pages. Published by Landon Creative, Inc.
Healing Hearts 3<br> Louis Landon<br> 2016 / Landon Creative, Inc.<br> 63 minutes<br> Review by Kathy Parsons<br> Louis Landon’s Healing Hearts 3 is the third in a series of solo piano albums that are comprised of improvisations that were created while clients were in session at his Healing Piano of Sedona (AZ). These sixty-minute healing and music sessions consist of forty minutes of mentoring and twenty minutes of music that includes personalized music for the client’s own use. Landon created Healing Piano of Sedona several years ago to help people live life joyously, passionately, and stress- and disease-free. Landon is a Steinway Artist who has been a life-long musician. Healing Hearts 3 is his twenty-first album and fourteenth solo piano collection. Each of the thirteen pieces on the album was inspired by a different “soul journey,” so the music is quite varied although it maintains a very calming and peaceful vibe throughout.<br> <br> It is interesting to note that Healing Hearts 3 has the closest to the ideal sound Landon has been looking for on his recordings. He attributes that achievement to the mastering and editing expertise of Joe Bongiorno of Piano Haven Studio, also in Sedona. Landon has been trying to get the sound of a classical concert hall in his Peace Palace studio recordings and this album definitely has that sound, which is exceptionally beautiful - clear, warm and resonant.<br> <br> Healing Hearts 3 begins with “Standing In the Light,” a softly flowing piece with a poignant melody that gently soothes the heart - a favorite. “Heart Song” is hushed, intimate and obviously very personal. “Triumph of the Soul” starts out in the deep bass of the piano - very dark and lost. As the piece evolves, it gradually lightens as it moves up the piano keyboard, ending in a very positive place. I’ve often said that the piano is the best instrument to express the sound and feeling of rain and “Night Rain” proves that point again. More energetic than most of the other tracks, the notes flow freely: sometimes smoothly and evenly, sometimes more percussive like big fat raindrops - love it! “Tears” is heartbreak set to music, although tears are so often a big part of the healing process. Such deep emotion is expressed in this piece! Landon wisely follows sadness with “Happy Man,” a lively slice of pianistic sunshine. “Phoenix Rising” begins in the deep bass of the piano, obviously signifying a very dark place or crisis. Over the course of the composition, there is turmoil and pain, but then Landon gradually moves the piece into the upper end of the piano to a much lighter and more peaceful place - a stunning piece! “Healing Time” is gently uplifting and so soothing and serene that I can actually feel it melting away tension - another favorite. “Music Runs Through Me” flows quickly like a stream with sparkles of sunlight dancing happily on its surface. “Balance” returns to a calm stillness that comes when things/life are in balance. Slow, lyrical and very peaceful, it’s the perfect closing for another great album from Louis Landon!<br> <br> I have thoroughly enjoyed all three Healing Hearts albums, but I think #3 is my favorite. It is available from LouisLandon.com, Amazon, iTunes and CD Baby. Very highly recommended!<br> November 4, 2016<br> <br> Recorded at The Peace Palace, Sedona, AZ, from November 2015 to February 2016. on a Steinway B.<br> <br> Music mastering: Joe Bongiorno at Piano Haven Studio, Sedona, AZ<br> <br> <br> <br> Louis Landon is a composer and Steinway artist. Formerly of New York and currently living in Sedona, Arizona, Louis has dedicated his life to music. His career has taken him around the world playing a variety of styles with some of the most recognized names in the entertainment industry. He toured nationally and internationally, playing classical music for Mikhail Baryshnikov; jazz fusion with The John Payne Band; Latin music with "Pucho and his Latin Soul Brothers”; pop music with Rupert "Pina Colada Song" Holmes; and rock & roll with John Hall, opening for "Little Feat”.<br> <br> Louis began playing the piano by ear at 4 years old and began lessons at 5. As a teenager, he played guitar and keyboard in bands and went on to study music at Stony Brook University, Boston Conservatory and Berklee College of Music.<br> <br> For the past 30 years, through his production company, Landon Music Company, Louis has written and produced music for film, video, and commercials. He recorded his first original album, Love Songs & Jazz, in 1994 and has since released 38 Albums/CDs on the LCI Record label. His latest, entitled Provocative Piano, was released on January 29, 2021. He has just finished up yet another solo piano album, Nighttime Piano for Relaxation and Deep Sleep, with a release date of April 23, 2021.<br> <br> Louis Landon mission:<br> <br> To create a more compassionate world by writing, recording and performing music that inspires love, peace, joy and gratitude.<br> <br> Reviews:<br> <br> “While some pianists are virtuosos in their playing and others may not be as technically proficient, but have great emotional content in their music, Louis Landon brings it all together with impeccable style and grace. His work covers diverse compositional terrain, incorporating influences of classical, new age, jazz, pop, and more in a mellifluous spectrum of moods and musical colors.” Michaeldiamondmusic.com<br> <br> "He has a gift for composition that is second to none." Zone Music Reporter<br> <br> "… indeed meditative and mellow, [he] sacrifices no musical rigor to achieve those ends. With backgrounds in jazz, Latin music, rock, pop, film composing, and classical piano, Louis brings his breadth and depth of experience to bear here. His playing and compositions are sensitive as they are complex and… a diverse range of influences is more than apparent.” Keyboard Magazine<br> <br> Recognition:<br> <br> Louis Landon's music has had over 140 million streams on Pandora radio!<br> <br> Louis Landon's music has had over 34 million streams on Spotify!<br> <br> Thanksgiving Piano was nominated for Album of the Year 2020 by Whisperings Radio.<br> <br> Departure - Solo Piano was nominated for Album of the Year 2017 by Whisperings Radio.<br> <br> Healing Hearts 2 - Solo Piano won 2016 “Contemporary and Modern” Album of the Year at solo piano.com and was nominated for Album of the Year at Enlightened Piano Radio, also in 2016.<br> <br> Healing Hearts - Solo Piano was nominated for Album of the Year at Whisperings Radio 2015.<br> <br> Solo Piano for Love, Peace & Mermaids was nominated for Album of the Year at Whisperings Radio 2010.<br> <br> Solo Piano for Peace was nominated for the 2009 ZMR Music Awards in three categories: Album of the Year, Best Instrumental Album - piano, and Best Cover Art by Zone Music Reporter. Solo Piano for Peace was listed at #30 of the top 100 albums for airplay in 2009 by Zone Music Reporter.<br> <br> Peace Revolution! was Louis Landon's 7th CD and 2nd solo piano CD. It was #7 on the NAR top 100 charts and was played on over 50 stations worldwide.<br> <br> unwind charted at #3 of the top 100 cds for the month of February, 2006 on Zone Music Reporter's website, playing on over 121 stations internationally.<br> <br> Visit LouisLandon.com for bookings, CDs, sheet music, contact info and more.
$5.25
4.83 €
#
Easy Piano
#
Louis Landon
#
Life is Beautiful
#
Landon Creative, Inc.
#
SheetMusicPlus
Toasting Mother Earth
Piano, Voice
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fid…
(+)
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098). It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me.  My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.Derek and I had worked together before – he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera “Abelard and Heloiseâ€, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award)  for ‘Outstanding Achievement in Newcastle Theatre’ against some 200 other stage productions in Newcastle’s bi-centenary year.Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect.  His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words.  To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece.  And, for further cohesion, I built an ABA (ternary) section early to address certain word structures.  Mostly, the various sections followed the stanza structure provided by Derek, with some combinations.  My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on.  In building the work I was principally influenced by the impact and flow of the words.The work is quite mammoth for both the singer and the pianist.  I was absolutely delighted that Anna Fraser again premiered a work of mine – in 2015 she marvellously premiered another major composition of mine, reviewed here:  http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.htmlWe can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.A living orb cloaked white and blue and greenRevolving and evolving, tight-hugged in orbit flightWe ride her back; dependent, fragile offspring.Suckling all the while …but have we bonded?A world unlike any other world we’ve seenGifted with Water, Air, Earth and perfect Light.The essentials of life. Freely, these gifts she brings.Free for all but how have we responded?                                   Poem© 2020 Derek DowdingRoss FiddesJanuary 2023.
$35.00
32.23 €
#
Piano, Voice
#
Ross Fiddes
#
dependent, fragile offspring
#
Toasting Mother Earth
#
Ross Fiddes
#
SheetMusicPlus
Enjoy the Recorder
Recorder
Descant recorder - Digital Download A comprehensive method for group, individual and …
(+)
Descant recorder - Digital Download A comprehensive method for group, individual and self tuition. This edition: teacher's book. Downloadable. Op. Vol. 1a. Schott Music - Digital #Q54738. Published by Schott Music - Digital
The best way to learn any instrument is to have lessons from a good, experienced teacher. Although, happily, the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves. This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own method at each stage. The less experienced will benefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation. Those learning by themselves - and I started in this way - are urged to work carefully and systematically through the books, taking plenty of time to assimilate each point before moving on. For them, without the personal model provided by a live teacher, it is vitally important to listen as often as possible to fine players, in person or on record, so that they have in their mind's ear a clear notion of the kind of sound they would like to produce. But however they start, I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle, delightful and sociable of instruments. (Brian Bonsor) "...this work is likely to become a standard work very quickly and is to be recommended to all schools where recorder studies are undertaken" (Oliver James, Contact Magazine) Descant Tutors provide a sound-playing technique, a mastery of simple notation and contain 570 tunes including concert pieces by Bonsor, carols, attractive rounds, and melodies by 'early music' composers. Clear line drawings greatly assist the pupil, making them especially suitable for self-instruction.
$23.99
22.09 €
#
Recorder
#
Enjoy the Recorder
#
Schott Music - Digital
#
SheetMusicPlus
Maria from "The Sound of Music" (for flute choir)
Flute ensemble
Flute Choir (Piccolo, Flute 1, 2, and 3, Alto, Bass, and Contrabass) - Intermediate - D…
(+)
Flute Choir (Piccolo, Flute 1, 2, and 3, Alto, Bass, and Contrabass) - Intermediate - Digital Download By Rodgers and Hammerstein. Arranged by Ralph Raymond Hays. Score, Set of Parts. 11 pages. Published by Ralph Raymond Hays
This lively and enchanting work -- lovingly crafted by an arranger who once played Friedrich von Trapp in a theatrical production -- can stand alone or can be combined with Prof. Hays' other arrangements to create a SOUND OF MUSIC SUITE. All members of the ensemble are featured in this arrangement which includes both the introductory and wedding versions of the endearing tune.
$12.99
11.96 €
#
Flute ensemble
#
Rodgers and Hammerstein
#
Maria from "The Sound of Music"
#
Ralph Raymond Hays
#
SheetMusicPlus
Edelweiss - The Sound of Music - Elementary Violin Duo
2 Violins (duet)
String Duet, Violin 1, Violin 2 - Easy/Beginner - Digital Download By Richard Rodgers…
(+)
String Duet, Violin 1, Violin 2 - Easy/Beginner - Digital Download By Richard Rodgers. Arranged by Violinotech. Score, Set of Parts. 7 pages. Published by Violinotech
This is an arrangement of Edelweiss from The Sound of Music movie soundtrack, for two violins.<br> The rhythm has been simplified to make it easier to play for elementary level violonists.<br> It is suitable for schools, students and amateur violinists.<br> <br> Elementary Level<br> - simple key signature (C Major)<br> - 1st position<br> - simple rhythms<br> - suggested bowings<br> <br> <br> Nicolas is a concert performer and has been teaching violin for over 25 years.<br> He created Violinotech to make available the scores, arrangements and other resources he uses daily in his lessons.<br> Visit Nicolas's website at www.violinotech.com
$7.99
7.36 €
#
2 Violins (duet)
#
Richard Rodgers
#
Edelweiss - The Sound of Music - Elementary Violin Duo
#
Violinotech
#
SheetMusicPlus
<
1
26
51
....
9976
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version
