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Neither One Of Us
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You've selected:
Neither One Of Us
Sheetmusic to print
19 sheet music found
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1
Neither One Of Us (Wants To Be The First To Say Goodbye)
Neither One Of Us (Wants To Be The First To Say Goodbye)
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Jazz Ensemble
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INTERMEDIATE
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Gladys Knight & The Pips
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Ralph J Martin
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Neither One Of Us
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Brass Dragons
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1382381 By Gladys Knight & The Pips. By Jim Weatherly. Arranged by Ralph J Martin. Conte...
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1382381 By Gladys Knight & The Pips. By Jim Weatherly. Arranged by Ralph J Martin. Contemporary,Pop,R & B,Soul. 31 pages. Brass Dragons #966899. Published by Brass Dragons (A0.1382381). This is a large ensemble arrangement of Neither One Of Us (Wants To Be The First To Say Goodbye) by Ralph Martin of Brass Dragons.Included parts; Lead Vocals, Background Vocals, Trumpet, Alto Sax or Tenor Sax, Trombone, Guitar, Keyboard, Bass, Drum Set and Score. This is a great Dance tune and a good crowd pleaser.Optional arrangements and instrumentation may be ordered at: BrassDragonsMusic@gmail.com.
$49.99 ≈
46.44€
CONJUNCTION: The Christmas Star of 2020
CONJUNCTION: The Christmas Star of 2020
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Orchestra
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INTERMEDIATE
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Christmas
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Sta
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. Whea...
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Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00 ≈
88.25€
Neither One Of Us (Wants To Be The First To Say Goodbye)
Neither One Of Us (Wants To Be The First To Say Goodbye)
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Melody line, (Lyrics) and Chords
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Bob Luman and Gladys Knight &
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Neither One Of Us
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Hal Leonard - Digital
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SheetMusicPlus
C Instrument,Guitar,Keyboard,Piano,Vocal - Interactive Download SKU: HX.400187 By Bob Luman and Gladys Knight & The Pips. This edition: Interactive Downl...
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C Instrument,Guitar,Keyboard,Piano,Vocal - Interactive Download SKU: HX.400187 By Bob Luman and Gladys Knight & The Pips. This edition: Interactive Download,scorch. Pop,Soul. Lead Sheet / Fake Book. 1 pages. Hal Leonard - Digital #582600. Published by Hal Leonard - Digital (HX.400187).
$3.99 ≈
3.71€
Neither One Of Us (wants To Be The First To Say Goodbye)
Neither One Of Us (wants To Be The First To Say Goodbye)
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Contemporary
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Gladys Knight & The Pips
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Katherine James
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Neither One Of Us
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Katherine James
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SheetMusicPlus
Instrumental Duet,Piano Guitar,Instrumental Duet,Piano,Violin - Level 4 - Digital Download SKU: A0.902706 By Gladys Knight & The Pips. By Jim Weatherly. ...
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Instrumental Duet,Piano Guitar,Instrumental Duet,Piano,Violin - Level 4 - Digital Download SKU: A0.902706 By Gladys Knight & The Pips. By Jim Weatherly. Arranged by Katherine James. Contemporary. Score and parts. 2 pages. Katherine James #6207771. Published by Katherine James (A0.902706). I've arranged this in Lead Sheet format which is especially valuable for sitting in at Jam sessions, or for a vocalist to hand a piano or guitar accompanist. This 2 page version is in F Major, includes the lyrics and chord changes, all in easy to read standard fake-book font.
$6.99 ≈
6.49€
Neither One Of Us
Neither One Of Us
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Guitar notes and tablatures
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Blues
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Tunescribers
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Neither One Of Us
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ArrangeMe
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SheetMusicPlus
Guitar,Voice - Digital Download SKU: A0.1338454 Arranged by Tunescribers. Blues. Guitar Tab with Voice. ArrangeMe #26617. Published by ArrangeMe (A0.1338...
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Guitar,Voice - Digital Download SKU: A0.1338454 Arranged by Tunescribers. Blues. Guitar Tab with Voice. ArrangeMe #26617. Published by ArrangeMe (A0.1338454).
$15.95 ≈
14.82€
The Masters of the Violin
The Masters of the Violin
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Violin
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Classical
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Mathieu Crickboom
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The Masters of the Violin
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Schott Music - Digital
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SheetMusicPlus
Twelve books of Studies revised, annotated and fingered by Mathieu Crickboom. Composed by Mathieu Crickboom. This edition: Sheet music. Downloadable. ...
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Twelve books of Studies revised, annotated and fingered by Mathieu Crickboom. Composed by Mathieu Crickboom. This edition: Sheet music. Downloadable. Op. IV. Schott Music - Digital #Q45248. Published by Schott Music - Digital
The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.
$16.99 ≈
15.78€
The Masters of the Violin
The Masters of the Violin
#
Violin
#
Classical
#
Mathieu Crickboom
#
The Masters of the Violin
#
Schott Music - Digital
#
SheetMusicPlus
Twelve books of Studies revised, annotated and fingered by Mathieu Crickboom. Composed by Mathieu Crickboom. This edition: Sheet music. Downloadable. ...
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Twelve books of Studies revised, annotated and fingered by Mathieu Crickboom. Composed by Mathieu Crickboom. This edition: Sheet music. Downloadable. Op. Vol. I. Schott Music - Digital #Q42354. Published by Schott Music - Digital
French.
The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.
$15.99 ≈
14.85€
The Masters of the Violin
The Masters of the Violin
#
Violin
#
Classical
#
Mathieu Crickboom
#
The Masters of the Violin
#
Schott Music - Digital
#
SheetMusicPlus
The Masters of the Violin. Composed by Mathieu Crickboom. This edition: Sheet music. Downloadable. Op. Vol. II. Schott Music - Digital #Q42355. Publis...
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The Masters of the Violin. Composed by Mathieu Crickboom. This edition: Sheet music. Downloadable. Op. Vol. II. Schott Music - Digital #Q42355. Published by Schott Music - Digital
French.
The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year\'s time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated.
$15.99 ≈
14.85€
Gladys Knight & The Pips: Neither One Of Us (Wants To Be The First To Say Goodbye) - voice & other instruments (fake book)
#
Melody line, (Lyrics) and Chords
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INTERMEDIATE
#
Pop music
#
Gladys Knight & The Pips
#
Virtualsheetmusic
Instantly printable sheet music by Gladys Knight & The Pips for voice & other instruments (fake book) of MEDIUM skill level. / pop,soul
Instantly printable sheet music by Gladys Knight & The Pips for voice & other instruments (fake book) of MEDIUM skill level. / pop,soul
$4.97 ≈
4.62€
Jim Weatherly: Neither One Of Us (Wants To Be The First To Say Goodbye) for voice, piano and guitar
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Piano, Vocal and Guitar
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INTERMEDIATE
#
Old Time/Rock
#
Jim Weatherly
#
Virtualsheetmusic
Instantly printable sheet music by Gladys Knight & The Pips for voice, piano or guitar of MEDIUM skill level. / oldies,pop,r & b,rock,soul
Instantly printable sheet music by Gladys Knight & The Pips for voice, piano or guitar of MEDIUM skill level. / oldies,pop,r & b,rock,soul
$6.97 ≈
6.47€
Unto Us a Child Is Born
Unto Us a Child Is Born
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Cynthia Dobrinski
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Unto Us a Child Is Born
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Hope Publishing - Digital
#
SheetMusicPlus
Handbells Handbells, Organ, SATB - Level 3 - Digital Download SKU: H1.1827DP Arranged by Cynthia Dobrinski. Hymntune, Christmas. Handbell score. 8 pages....
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Handbells Handbells, Organ, SATB - Level 3 - Digital Download SKU: H1.1827DP Arranged by Cynthia Dobrinski. Hymntune, Christmas. Handbell score. 8 pages. Hope Publishing - Digital #1827DP. Published by Hope Publishing - Digital (H1.1827DP). Christmas hymn This version of Unto Us a Child is Born is a joyous Christmas anthem for handbells, organ with optional SATB choir based on ancient Latin text and tune. The bell part is written in block chords but the tempo is fast. Neither the bell part nor the choral score is stand-alone. Measures total 143.
$6.25 ≈
5.81€
Unto Us a Child Is Born
Unto Us a Child Is Born
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Cynthia Dobrinski
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Unto Us a Child Is Born
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Hope Publishing - Digital
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SheetMusicPlus
Handbells, Organ, SATB - Level 3 - Digital Download SKU: H1.1829DP Arranged by Cynthia Dobrinski. Hymntune, Christmas. Octavo. 4 pages. Hope Publishing -...
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Handbells, Organ, SATB - Level 3 - Digital Download SKU: H1.1829DP Arranged by Cynthia Dobrinski. Hymntune, Christmas. Octavo. 4 pages. Hope Publishing - Digital #1829DP. Published by Hope Publishing - Digital (H1.1829DP). Christmas hymn This version of Unto Us a Child is Born is a joyous Christmas anthem for handbells, organ with optional SATB choir based on ancient Latin text and tune. The bell part is written in block chords but the tempo is fast. Neither the bell part nor the choral score is stand-alone. Measures total 143.
$2.60 ≈
2.42€
Unto Us a Child Is Born
Unto Us a Child Is Born
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Cynthia Dobrinski
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Unto Us a Child Is Born
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Hope Publishing - Digital
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SheetMusicPlus
Handbells, Organ, SATB - Level 3 - Digital Download SKU: H1.1828DP Arranged by Cynthia Dobrinski. Hymntune, Christmas. Director/Organ Score. 12 pages. Ho...
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Handbells, Organ, SATB - Level 3 - Digital Download SKU: H1.1828DP Arranged by Cynthia Dobrinski. Hymntune, Christmas. Director/Organ Score. 12 pages. Hope Publishing - Digital #1828DP. Published by Hope Publishing - Digital (H1.1828DP). Christmas hymn This version of Unto Us a Child is Born is a joyous Christmas anthem for handbells, organ with optional SATB choir based on ancient Latin text and tune. The bell part is written in block chords but the tempo is fast. Neither the bell part nor the choral score is stand-alone. Measures total 143.
$14.95 ≈
13.89€
Neither One of Us (Wants to be the First to Say Goodbye) by Gladys Knight & The Pips - Piano/Vocal/Guitar
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Piano, Vocal and Guitar
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Soul/R&B
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Gladys Knight & The Pips
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Neither One of Us (Wants to be
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Musicnotes
Performed by: Gladys Knight & The Pips: Neither One of Us (Wants to be the First to Say Goodbye) Digital Sheetmusic - instantly downloadable sheet music plu...
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Performed by: Gladys Knight & The Pips: Neither One of Us (Wants to be the First to Say Goodbye) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal/Guitar, instruments: Piano;Guitar;Voice; 6 pages -- Soul~~R & B
$5.50 ≈
5.11€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.29€
Neither One Of Us (Wants To Be The First To Say Goodbye)
Neither One Of Us (Wants To Be The First To Say Goodbye)
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Piano, Vocal and Guitar
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Bob Luman and Gladys Knight &a
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Neither One Of Us
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Bob Luman and Gladys Knight & The Pips. For piano, voice, and guitar (chords only). Oldies; Pop; R & B; Rock; Soul. 6 pages. Published by Hal Leonard...
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By Bob Luman and Gladys Knight & The Pips. For piano, voice, and guitar (chords only). Oldies; Pop; R & B; Rock; Soul. 6 pages. Published by Hal Leonard - Digital Sheet Music
$4.99 ≈
4.64€
Neither One Of Us (Wants To Be The First To Say Goodbye)
Neither One Of Us (Wants To Be The First To Say Goodbye)
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Melody line, (Lyrics) and Chords
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Neither One Of Us
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Pop, Soul. PROVCL. 5 pages. Published by Hal Leonard - Digital Sheet Music (HX.397579). - PROVCL - Pop,Soul - Hal Leonard - Digital Sheet Music...
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Pop, Soul. PROVCL. 5 pages. Published by Hal Leonard - Digital Sheet Music (HX.397579). - PROVCL - Pop,Soul - Hal Leonard - Digital Sheet Music
$4.99 ≈
4.64€
Neither One Of Us (Wants To Be The First To Say Goodbye)
Neither One Of Us (Wants To Be The First To Say Goodbye)
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Melody line, (Lyrics) and Chords
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Rock
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Soul/R&B
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Bob Luman and Gladys Knight &
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Rock
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Neither One Of Us
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Bob Luman and Gladys Knight & The Pips. Pop; Rock; Soul. Fakebook. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.386289). - Fakebook - Pop; Roc...
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By Bob Luman and Gladys Knight & The Pips. Pop; Rock; Soul. Fakebook. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.386289). - Fakebook - Pop; Rock; Soul - Hal Leonard - Digital Sheet Music
$3.99 ≈
3.71€
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Neither One Of Us
