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Vous avez sélectionné:
1 min 15 sec at tempo
Partitions à imprimer
9 partitions trouvées
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1
I Got You (i Feel Good)
I Got You (i Feel Good)
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Fanfare
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FACILE
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James Brown
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Niko Zontini
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1 min 15 sec at tempo
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I Got You
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Niko Zontini
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SheetMusicPlus
Marching Band - Level 2 - SKU: A0.1128152 By James Brown. By James Brown. Arranged by Niko Zontini. Funk,Jazz. Score and parts. 28 pages. Niko Zontini #...
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Marching Band - Level 2 - SKU: A0.1128152 By James Brown. By James Brown. Arranged by Niko Zontini. Funk,Jazz. Score and parts. 28 pages. Niko Zontini #728767. Published by Niko Zontini (A0.1128152). Arrangement of I Feel Good by James Brown for marching band. 146bpm; 1 min 15 sec at tempo. Instrumentation: Flute, Clarinet 1 & 2, Bass Clarinet, Alto Sax, Tenor Sax, Baritone Sax, Trumpet 1 & 2, Mellophone, Trombone, Baritone, Sousaphone, Snare Drum, Tenor Drum, Bass Drum, Cymbals.
$80.00 ≈
74.68€
One Second to the Future - Guitar Orchestra
One Second to the Future - Guitar Orchestra
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Brent C Robitaille
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One Second to the Future - Gui
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Brent C Robitaille
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Robitaille #994677...
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Chamber Orchestra - Level 4 - SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Robitaille #994677. Published by Brent C Robitaille (A0.1412646). One Second to the Future (Guitar Orchestra) Composer: Brent Robitaille  • “One Second to the Future†is a two-movement piece for either a single or optional double guitar orchestra with four separate parts for electric guitar and classical guitar. Two optional steel string guitar and electric bass parts are available but may be substituted if these instruments are unavailable. The total score will be around 500 measures with a running time of approximately 12-15 minutes. The piece is quite approachable for intermediate-level guitarists, with the more challenging sections arranged for the 1st and 2nd parts of the electric and classical guitar. Three overhead mics from the stage will be used to spatialize the sound into a stereo or surround sound system.  • The first movement starts with a fixed audio shortwave recording from the Canadian time signal shortwave station CHU, gently fading in for approximately 20 seconds before the guitar orchestra begins with natural and artificial harmonics.  • The second fixed audio track gently enters around the 1:00-minute mark. This track was recorded using eight amplified and non-amplified guitars in altered tunings with eight separate microphones to integrate into stereo or surround sound. The guitar's open strings were left to vibrate sympathetically as the volume increased and struck on the headstock with various rubber and metal sticks, violin bows or paint brushes to get the strings vibrating. The resulting wave files were then imported into a sampling program and filtered into the overtone series with “C†as the fundamental, emphasising the first 14 partials. This recording will be used intermittently throughout the first movement, acting primarily as a background pad.   • At approximately 3:00 minutes into the first movement, the players are asked to use a glass or metal slide to tap out rhythms based on the international Morse code. Several other standard slide guitar techniques are also integrated into this section. See instructions in the score. The first movement ends with both fixed audio tracks fading away.  • The second movement integrates a more traditional guitar playing and composition approach. Its bulk is at a robust tempo of 160 bpm and uses several rhythmic and timbral techniques, including sul tasto, sul ponticello, harmonics, golpe, string snaps, and the further use of guitar slides.  • Midway through the second movement, a rallentando proceeds to a section indicated by the tempo mark “slow motion.†At this point, a third fixed audio recording of a single vibrating guitar string slowed down by 3000% will fade in. The orchestra is instructed to play with this recording in slow motion or approximately 30 bpm. See score for details. The orchestra eventually returns to the original tempo to finish the 2nd movement.  Technical Requirements • Three mono or stereo mics from the orchestra will be required and blended with the stereo or surround sound. • A standard guitar delay and distortion pedal for electric guitar parts one and two is required. • Glass and metal guitar slides are required.   To download the fixed audio tracks, go here: https://soundcloud.com/kalymi/sets/one-second-to-the-future-guitar-orchestra-fixed-audio-tracks For fixed audio track information and information, contact me at:info@brentrobitaille.com.
$75.00 ≈
70.01€
Bydlo from "Pictures at an Exhibition"
Bydlo from "Pictures at an Exhibition"
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Classique
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Modest Mussorgsky
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Daniel S
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#
Bydlo from "Pictures at a
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Daniel S. Augustine
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SheetMusicPlus
Small Ensemble Euphonium,Tuba - Level 3 - SKU: A0.837240 Composed by Modest Mussorgsky (1839-1881). Arranged by Daniel S. Augustine. Romantic Period. Sc...
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Small Ensemble Euphonium,Tuba - Level 3 - SKU: A0.837240 Composed by Modest Mussorgsky (1839-1881). Arranged by Daniel S. Augustine. Romantic Period. Score and parts. 15 pages. Daniel S. Augustine #3558603. Published by Daniel S. Augustine (A0.837240). Modest Mussorgsky (1839-1881) composed his Pictures at an Exhibition -- A Remembrance of Viktor Hartmann in 1874 as a suite of ten pieces (with a recurring Promenade) for piano, representing paintings by Hartmann. The Bydlo section depicted cattle or oxen slowly pulling a cart with enormous wheels. Maurice Ravel orchestrated this section with the high solo given to the French tuba in C (pitched a whole step above the Bb euphonium). The present arrangement gives the melody to the euphoniums, and changes the key from the ungainly G# minor (five sharps) to Bb minor (5 flats). The tempo is very slow, with an eighth-note at 90, at which speed the piece takes about 3 minutes to play. The highest pitches are a high Bb for Euphoniums 1 and 2, and the Bb a step under middle C for Tuba 1. Good high school players should be able to handle this level, which is intermediate (perhaps advanced intermediate). This piece should be a crowd-pleaser, since it showcases the low-brass instruments rarely given solos. Also, it is a piece that welcomes extra players for both euphoniums and tubas. Parts for both treble- and bass-clef euphoniums are provided.
$19.95 ≈
18.62€
Up On The Housetop
Up On The Housetop
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Benjamin R
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F
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Up On The Housetop
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Sweetwater Brass Press
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SheetMusicPlus
Composed by Benjamin R. Hanby. Arranged by F. Leslie Smith. Christmas, Children's Music. Score, Set of Parts. 15 pages. Published by Sweetwater Brass Press (S0....
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Composed by Benjamin R. Hanby. Arranged by F. Leslie Smith. Christmas, Children's Music. Score, Set of Parts. 15 pages. Published by Sweetwater Brass Press (S0.89639). - Score,Set of Parts - Christmas,Children's Music - Sweetwater Brass Press
If you can afford only one ?Up On The Housetop? for your brass quintet, this is the one to get. It is a hoot! It starts with an introduction that is definitely in a hurry; Santa?s sleigh may even have a klaxon on board to blast loitering birds out of the way! The arrangement moves on at the same fast clip, having fun with the melody and never letting up. As it reaches the halfway point, the tempo seems to slow down, but this is just an illusion; tuba and horn keep it moving. Racing toward the end, the conclusion recalls the introduction and finishes with a great, upbeat wind-up. Click on the ?Listen? button, and get set for an exciting Christmas ride with Santa.Tempo is halfnote = 138 throughout. There are some high notes and jumps. Trumpet 1?s highest note is B-flat5 (high C); Trumpet 2, A-flat5 (B-flat above the staff); Horn, F5 (high C). Trombone?s highest jump is from B-flat2 to E-sharp4. Horn has several 6-note jumps. This arrangement was completed in 2012, and performance time runs about 1 minute, 41 seconds. The arranger, Les Smith, can be reached at lessmith@ufl.edu. For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the SheetMusicPlus search box.
$4.00 ≈
3.73€
Alas and Did My Savior Bleed for 1 or 2 Flutes (C instruments) and Guitar
Alas and Did My Savior Bleed for 1 or 2 Flutes (C instruments) and Guitar
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Flûte et Guitare
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FACILE
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Isaac Watts
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Robert E
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Alas and Did My Savior Bleed f
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R. E. Proctor
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SheetMusicPlus
Instrumental Duet Flute,Guitar,Instrumental Duet - Level 2 - SKU: A0.809934 Composed by Isaac Watts. Arranged by Robert E. Proctor. Christian,Contempora...
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Instrumental Duet Flute,Guitar,Instrumental Duet - Level 2 - SKU: A0.809934 Composed by Isaac Watts. Arranged by Robert E. Proctor. Christian,Contemporary,Sacred. Score and parts. 15 pages. R. E. Proctor #6495531. Published by R. E. Proctor (A0.809934). Alas and Did My Savior Bleed, also known as At the Cross is a traditional hymn of the church with lyrics by Isaac Watts and music by Ralph E. Hudson. This arrangement is for one or two flute(s) or other C instruments and guitar. The form is a theme with variations. Keys are D major, D minor, and B minor. It can be preformed as a flute solo or flute duet. The audio recording included here alternates between solo and duet to give a better idea of how it will sound as a solo or a duet. The parts are labeled solo and duet for the second part. Suggested fingerings for the guitar are included. The guitar uses the 6th string set to D. Tempo is moderato (100-112 mm.) Duration is approx. 3:00.
$5.95 ≈
5.55€
I Love Lucy
I Love Lucy
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Contemporain
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Eliot Daniel
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Dennis Ruello
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I Love Lucy
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Chicory Music
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SheetMusicPlus
Small Ensemble Alto Saxophone,Baritone Saxophone,Drum Set,Piano,Tenor Saxophone,Trombone,Trumpet - Level 3 - SKU: A0.734627 Composed by Eliot Daniel. Ar...
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Small Ensemble Alto Saxophone,Baritone Saxophone,Drum Set,Piano,Tenor Saxophone,Trombone,Trumpet - Level 3 - SKU: A0.734627 Composed by Eliot Daniel. Arranged by Dennis Ruello. Contemporary. Score and parts. 21 pages. Chicory Music #6707191. Published by Chicory Music (A0.734627). On October 15, 1951, the very first episode of the I Love Lucy show aired on CBS and became the most watched TV show in the U.S. for four of its seven-year run. Fun trivia about the opening theme song is that during the first season the show opened with their sponsor Philip Morris’ animation of stick figure cartoons of Lucy and Desi climbing down a pack of Philip Morris cigarettes. It was scored with Ferde Grofé’s Jr. The Grand Canyon Suite theme (a composition from 1931).From the second season onwards, the I Love Lucy signature tune we all know so well became the main theme, and one of the most recognizable pieces of music on the planet. It was written by composer Eliot Daniel who cranked it out in an afternoon as a favor to his old Coast Guard buddy Jess Oppenheimer, the show’s producer. Since Daniel still had another year under his exclusive contract to Fox, he asked Oppenheimer to keep his name out of it. Consequently his name does not appear on first or the second season TV credits for what became one of the most popular TV themes. Later, Daniel did seek credit and received royalties from syndicated reruns for the rest of his life.The lyrics were written by Harold Adamson for an episode in the third season in which Lucy believes everyone has forgotten her birthday. So of course Ricky saves the day after a near disaster.This arrangement for Jazz / Big Band is written at the Intermediate Level in a Slow Ballad Tempo.Performance Time: Approx. 1 minute 40 seconds
$19.99 ≈
18.66€
Country Dances
Country Dances
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Orchestre à Cordes
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INTERMÉDIAIRE
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Classique
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Michael Blostein
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Michael Blostein
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Country Dances
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Michael D. Blostein
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.1256304 By Michael Blostein. By Ludwig van Beethoven. Arranged by Michael Blostein. Classical,Contest,Festival,Hist...
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String Orchestra - Level 3 - SKU: A0.1256304 By Michael Blostein. By Ludwig van Beethoven. Arranged by Michael Blostein. Classical,Contest,Festival,Historic,Instructional,Romantic Period. Score and Parts. 28 pages. Michael D. Blostein #849775. Published by Michael D. Blostein (A0.1256304). Beethoven’s Six Ländler for Two Violins and Bass, WoO 15 – the basis for this work - constitute his second and final set of these forms of German dance, written as a commission for the annual dances at the Vienna Redoutensaal. Both sets were apparently intended for actual events of social dancing.This set likely date from early 1802, when Beethoven was working intensely on his second symphony.This arrangement for string orchestra requires shifting into 2nd position for the first violins in one section, and the viola (as well as 3rd violin if used) and 2nd violins are required to go into half position for two sections. Cellos need to extend. The requirements for the bass are minimal, but the bass players can play the cello part (with appropriate fingering and position alterations) and the piece works. The second violins do not need to shift, but some of the string crossing (shared with the first violins) can be a bit tricky.This piece works best at a faster tempo (in 1), but can work at a slower tempo (a fast 3).
$35.00 ≈
32.67€
Because
Because
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Ensemble de cuivres
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INTERMÉDIAIRE
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Guy d'Hardelot
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F
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Because
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 3 - SKU: A0.808703 Composed by Guy d'Hardelot (1858 – 1936). Arranged by F. Leslie Smith. Holiday,Romantic Period,Spiritua...
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Brass Ensemble - Level 3 - SKU: A0.808703 Composed by Guy d'Hardelot (1858 – 1936). Arranged by F. Leslie Smith. Holiday,Romantic Period,Spiritual,Wedding. Score and parts. 18 pages. Sweetwater Brass Press #6072651. Published by Sweetwater Brass Press (A0.808703).     This song is a great piece to play for a general concert. But it really shines in matrimonial settings. The fact is: No wedding is complete without the performance of Because.    Helen Guy, the daughter of an English sea captain and a French singer, was born at Château d'Hardelot in France. She entered the Paris Conservatory at age 15, and in her early 20s composed a musical setting for Victor Hugo’s Sans toi, which gained some popularity. She composed over 300 songs using the name Guy d'Hardelot. She was also a noted piano accompanist. After marrying W.I. Rhodes, she settled in London and taught singing. As a composer, she is best remembered for Because (Parce Que), for which she wrote both the music and the French words. It was first published in 1902 with English lyrics by Edward Teschemacher and has since been recorded many times by many different artists.    This arrangement was derived from the 1902 Chappell & Co. score in C major for piano and voice. For the most part, however, the musical setting is original and different. Throughout most of the piece, Horn in F carries the melody with Trombone and Tuba providing an arpeggio accompaniment. Trumpets 1 and 2 play a syncopation figure for the opening and the end but during the majority of the arrangement they provide an antiphonal response to the melody. The opening is marked Poco Adagio with a suggested metronome setting of 76, but the tempo does vary rather frequently. All notes are well within the range of each instrument; e.g., B-flat Trumpets’ highest note is G at the top of their staff, while Tuba’s lowest note is A below the staff. All-in-all, this arrangement is a beautiful and poignant setting for an old favorite, a real crowd pleaser.    Completed in 2020, performance time for Because runs about 3 minutes, 22 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$6.99 ≈
6.53€
20 Classical Piano Pieces for Elementary Piano Students (with all piano fingering)
20 Classical Piano Pieces for Elementary Piano Students (with all piano fingering)
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Piano Facile
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DÉBUTANT
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Classique
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Various
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20 Classical Piano Pieces for
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Scott Camp
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SheetMusicPlus
Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by S...
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Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by Scott Camp
This is the collection of classical piano repertoire I created for work with my own students, most of whom were not primarily interested in "classical" music.
In my experience, every elementary piano student should be given the opportunity to successfully play:
Spinning Song (even if you leave out the middle section at first)
Minuet in G (page one)
Fur Elise (page one)
Eventually, they should experience (if not master--that's ultimately up to them) each piece in this collection.
All hand positions and finger numbers are presented so that students can spend their time preparing successfully--not "figuring out" with endless frustration and incorrect solutions.
"Minuet in G" from the Bach notebook is a great example. Let's consider just the first page. Many (most) elementary students would love to play this piece. The RH by itself is easy. The LH is also "not difficult", but it's not self-evident, either. The notes are easy enough, and the fingering choices seem inconsequential. You could play it with several different fingering solutions.
Hands Together: Humans can pay attention to only one thing at a time: in this case, the RH or the LH. Whichever hand is receiving the attention, the other must be on "automatic pilot". You can switch focus rapidly to give the appearance that you are paying attention to two things equally, but that is not what is happening.
So... both hands need to be rehearsed (better word than "practiced") until the correct execution is the "default" behavior.
If that (sufficient correct repetetition) has not happened, then consistent successful performance with both hands is never achieved. Students complain that they wish they could be more "consistent". They don't have a chance, sadly.
"Practice Makes... "
If you said "Perfect" then you've fallen into a sinister trap.
"Practice makes Permanent." When a student actually does what has been assigned, in many cases that is the beginning of the end of their piano career.
Here's the process in general:
Students "write in their own fingering" and then, and then practice (repeat) their incorrect solutions. They are unable to perform the desired piece consistently and don't know why. How long can a student tolerate this ineffective approach?
That's something for us professionals to consider.
Perfect for introducing classical repertoire (similar to Suzuki, Bastien Piano Literature, etc). The advantage here is that all fingering is included so that students play more!
Contents
Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G minor from the Notebook for Anna Magdalena Bach
Musette in D from the Notebook for Anna Magdalena Bach
Minuet in F Wolfgang Amadeus Mozart
Ecossaise in G Ludwig van Beethoven
Sonatina in G Ludwig van Beethoven
I Allegretto
II Romanze
Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler
I Allegro
The Wild Horseman, Op. 68, No. 8 Robert Schumann
Fur Elise (Famous Page 1) Ludwig van Beethoven
Spinning Song, Op. 14, No. 4 Albert Elmenreich
Arabesque, Op. 100, No. 2 Friedrich Burgmller
Ballade, Op. 100, No. 15 Friedrich Burgmller
Solfeggietto Carl Philipp Emanuel Bach
Toccatina, Op. 27, No. 12 Dmitri Kabalevsky
Fur Elise (Complete) Ludwig van Beethoven
Sonatina, Op. 55, No. 1 Friedrich Kuhlau
I Allegro
Sonatina, Op. 36, No. 3 Muzio Clementi
I Spiritoso
La Vlocit, Op. 109, No. 10 Friedrich Burgmller
These are the documents that I have used to introduce classical music to my piano students. No note is presented without its corresponding proper fundamental technique (fingering). In other words, there is no such thing as a note separate from its hand position and fingering.
The hand position notation is used to better communicate what exactly is being demanded of the student. Students? repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores ?playing music on the piano? to primacy and supports ?helping a student play music on the piano? as the central activity of the piano lesson.
Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.
Good luck!
Scott Camp
scottcampislandpiano@gmail.com
$3.99 ≈
3.72€
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1 min 15 sec at tempo
