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Five Notes Pattern 5
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Vous avez sélectionné:
Five Notes Pattern 5
Partitions à imprimer
17 partitions trouvées
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1
Five Notes Pattern 5
Five Notes Pattern 5
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Piano seul
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INTERMÉDIAIRE
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Cristiano Vecchi
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Five Notes Pattern 5
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Cristiano Vecchi
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.963443 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz. Score. 6 pages. Cristiano Vecchi #5311071. Publishe...
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Piano Solo - Level 3 - SKU: A0.963443 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz. Score. 6 pages. Cristiano Vecchi #5311071. Published by Cristiano Vecchi (A0.963443). A pattern of five notes in progression harmonized by jazz chords (mostly diminished ones), an effective exercise to achieve melodic coherence in improvisation.Twelve transpositions for a very useful practice!My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$1.99 ≈
1.78€
Five Ways to Play The 12-Bar Blues
Five Ways to Play The 12-Bar Blues
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Danny Crocome
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Danny Crocome
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roll tunes)
2
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Five Ways to Play The 12-Bar B
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Danny Crocome Music
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1334206 Composed by Danny Crocome. Arranged by Danny Crocome. 20th Century,Blues,Instructional,Jazz,Rock. Guitar Tab. 6 pages...
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Guitar - Level 3 - SKU: A0.1334206 Composed by Danny Crocome. Arranged by Danny Crocome. 20th Century,Blues,Instructional,Jazz,Rock. Guitar Tab. 6 pages. Danny Crocome Music #920403. Published by Danny Crocome Music (A0.1334206). These series of 5 info sheets show guitarists 5 different ways of playing a traditional 12-bar blues sequence in the key of E Major, as follows:1. The classic 12-bar blues riff (used in many familiar blues/rock & roll tunes)2. A single note riff (built from the chord tones of the 12-bar blues pattern)3. An embellished version of the classic riff (using additional notes)4. A walking bassline variation of the pattern (with hammer-ons and passing notes)5. A walking bassline with syncopated upper register notes (as used by players like Stevie Ray Vaughan).Having a firm understanding of the underlying chord pattern of the blues, and the numerous variations guitarists can play over these changes, is essential for guitarists. This is an excellent resource for learning many of the tricks that blues guitarists use to get that distinctive blues sound and feel.
$9.99 ≈
8.95€
Five Notes Pattern 1
Five Notes Pattern 1
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Piano seul
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INTERMÉDIAIRE
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Cristiano Vecchi
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Five Notes Pattern 1
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Cristiano Vecchi
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.963238 Composed by Cristiano Vecchi. 20th Century,Instructional,Jazz. Score. 5 pages. Cristiano Vecchi #3860983. Publishe...
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Piano Solo - Level 3 - SKU: A0.963238 Composed by Cristiano Vecchi. 20th Century,Instructional,Jazz. Score. 5 pages. Cristiano Vecchi #3860983. Published by Cristiano Vecchi (A0.963238). A descendant pattern of five notes on the right hand, harmonised with altered dominant chords on the left hand, in stride-piano style (bass notes can be omitted to simplify).Twelve transpositions for a very useful practice!
$1.99 ≈
1.78€
Five Notes Pattern 2
Five Notes Pattern 2
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Piano seul
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INTERMÉDIAIRE
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Cristiano Vecchi
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Five Notes Pattern 2
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Cristiano Vecchi
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.963239 Composed by Cristiano Vecchi. 20th Century,Instructional,Jazz. Score. 5 pages. Cristiano Vecchi #3861179. Publishe...
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Piano Solo - Level 3 - SKU: A0.963239 Composed by Cristiano Vecchi. 20th Century,Instructional,Jazz. Score. 5 pages. Cristiano Vecchi #3861179. Published by Cristiano Vecchi (A0.963239). An ascendant pattern of five notes harmonized by dominant chords, with a descendant counterpoint in the middle range.Twelve transposition for a very useful practice!
$1.99 ≈
1.78€
Minuet in C 1,2,3,4,5
Minuet in C 1,2,3,4,5
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Piano seul
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DÉBUTANT
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Methodes
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Terri H
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Claire Cavoto
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Minuet in C 1,2,3,4,5
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Terri H. DeLuca
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SheetMusicPlus
Piano Solo - Level 1 - SKU: A0.962013 Composed by Terri H. DeLuca. Arranged by Claire Cavoto. Instructional. Score. 15 pages. Terri H. DeLuca #2009697. ...
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Piano Solo - Level 1 - SKU: A0.962013 Composed by Terri H. DeLuca. Arranged by Claire Cavoto. Instructional. Score. 15 pages. Terri H. DeLuca #2009697. Published by Terri H. DeLuca (A0.962013). Minuet in C is one song in a series of Pattern Based Piano© titles written by Terri H. DeLuca for her own piano students to help them build and develop their reading and playing skills. These pieces focus on patterns and shapes that appear over and over. Level One is the easiest at the elementary level and Level Five is the final composition at a late elementary to early intermediate level. Each level has the same skeletal structure with varying modifications to help the student build their skills in reading and playing. As the levels get increasingly difficult, the challenge decreases. Ms. DeLuca found her students taking a new level every one to two weeks and these were beginning level readers! Each level includes a workbook sheet that focuses on the patterns and intervals introduced in each song, so the student can concentrate on specific skills prior to learning the entire piece. Minuet in C is a five-level song that takes the student to a very advanced piece of music in a very short period of time. It amazingly moves from dotted half notes in both hands in Level One to eighth note runs in both hands simultaneously in Level Five. You will be astounded at your students rapid progress in Ms. DeLuca's Minuet in C.
$5.99 ≈
5.36€
Five Preludes
Five Preludes
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Piano seul
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Contemporain
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Don Bowyer
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Five Preludes
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Dolphin Don's Music School
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SheetMusicPlus
Piano Solo - SKU: A0.990153 Composed by Don Bowyer (Sunway University). Contemporary. Score. 22 pages. Dolphin Don's Music School #6434599. Published by...
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Piano Solo - SKU: A0.990153 Composed by Don Bowyer (Sunway University). Contemporary. Score. 22 pages. Dolphin Don's Music School #6434599. Published by Dolphin Don's Music School (A0.990153). Five Preludes is a set of short pieces for solo piano, exploring various sounds and ideas. Each prelude is one to two minutes in length.Prelude 1: Play-ludeThe main idea of this prelude uses parallel fourths in the left hand with short, dissonant statements in the right hand. The contrasting second idea has a tonal bass line progression below a chromatic figure. The 3/8 time signature gives the piece a quasi-swing feel.Prelude 2: Pray-ludeThis prelude alternates between F major and Gb major, with slow reflective melodic statements over sustained roots. The statements gradually become shorter and shorter until the recapitulation.Prelude 3: Pre-lewdThis whimsical prelude uses a five-note synthetic scale throughout (1, m3, P4, m6, M7), but the scale modulates in a pattern that suggests a standard 16-measure blues progression. There is a repeating figure in the bass using the same modulating scale.Prelude 4: Prelude SolitudeThis slow prelude in 7/4 time has an ostinato bass line that never varies. The six notes of the bass line (Eb, E, F, Ab, A, Bb) form a synthetic scale from which the entire piece is derived.Prelude 5: Pre-ludicrousThis prelude uses the same six-note synthetic scale throughout (C, Eb, E, G, Ab, B). Harmonic motion is established through a repeated bass line, with chords built from every other note of the scale.
$18.99 ≈
17.01€
Wind Quintet - One Rule
Wind Quintet - One Rule
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Mike Lyons
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Wind Quintet - One Rule
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Lyons Music Services
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. P...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.
$35.00 ≈
31.35€
Luna's Music
Luna's Music
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Piano Facile
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DÉBUTANT
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Grace Odell
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Luna's Music
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Grace Odell
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.1018184 Composed by Grace Odell. Children,Classical,Contemporary,Instructional. Score. 3 pages. Grace Odell #623750. Publ...
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Easy Piano - Level 1 - SKU: A0.1018184 Composed by Grace Odell. Children,Classical,Contemporary,Instructional. Score. 3 pages. Grace Odell #623750. Published by Grace Odell (A0.1018184). Six delightful, short, easy, quirky pieces in mostly five finger positions. None are longer than two lines of music, and they progress in difficulty. Includes sharps, quarter notes, half notes, whole notes, and eighth notes. 1. Peaceful Birds 2. Elephant Ballerina 3. Dreaming (includes moving up the keyboard in a pattern) 4. A Black and White Movie 5. Car Ride in the Countryside (includes LH chords that move around in a pattern) 6. Fancy Dancy (contrapuntal but still in 5-finger position).
$7.00 ≈
6.27€
In the Bleak Midwinter
In the Bleak Midwinter
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Piano seul
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AVANCÉ
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Noël
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Michael Swedberg
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Terrence Niska
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In the Bleak Midwinter
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Niska Music Publishing
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1125813 By Michael Swedberg. By Gustav Holst. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages....
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Piano Solo - Level 5 - SKU: A0.1125813 By Michael Swedberg. By Gustav Holst. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages. Niska Music Publishing #726553. Published by Niska Music Publishing (A0.1125813). Another arrangement that had its genesis as a vocal chart for Five By Design. However, this piece went on to be performed in our holiday show, “A Winter’s Evening.†I have always loved the Gustav Holst melody to Christina Rossetti’s poem, subsequently it was that setting that I chose to arrange for our group. When I was selecting pieces for my second collection of Christmas Preludes, I knew this would be among them. The piece starts out quite gently, and in my mind’s ear I hear a cello and oboe establishing a mood of utter serenity and calm as the snow gently falls outside the frost-covered window. Soon the oboe is joined by a clarinet as they play a duet while the cello continues the gentle sway of eighth notes. For the pianist, there must be great control of the left hand to keep it as calm as possible while the melody floats above, just as the snow falls to the earth. As the second verse begins, the right hand now plays a triplet pattern beneath the melody. It is a gentle breeze, stirred by the wings of angels and cherubim, upon which the crystalline flakes swirl and dance in the cold night air. All the while the left hand continues its steady motion of eighth notes. Halfway through the triplet pattern moves to the left hand and the right hand takes up the eighth notes while still keeping the melody above all. The verse comes to a close with a slowing of the tempo to emphasize the importance of what the poet states in the last lines of the poem: “Yet what I can I give Him, — Give my heart.†It is all that any of us can do, and all that we are asked to do.
$3.99 ≈
3.57€
America the Beautiful
America the Beautiful
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Flûte traversière
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INTERMÉDIAIRE
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Samuel A
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Deborah M
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America the Beautiful
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Silverflute Music
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SheetMusicPlus
Flute Solo - Level 3 - SKU: A0.899175 Composed by Samuel A. Ward (1848-1903). Arranged by Deborah M. Sylvester. Contemporary,Holiday,Patriotic. Individu...
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Flute Solo - Level 3 - SKU: A0.899175 Composed by Samuel A. Ward (1848-1903). Arranged by Deborah M. Sylvester. Contemporary,Holiday,Patriotic. Individual part. 19 pages. Silverflute Music #482435. Published by Silverflute Music (A0.899175). Emerging aurally with patriotic fervor from the start, this rendition of America the Beautiful is unique in that it is arranged for five flutes. It opens in the key of C, with perfect fifths, creating the sense that something mysterious is on the horizon; then, in the seventh measure, the America theme (a pattern of running sixteenth notes and eighth notes) is heard first in Flute 1, then Flute 2, then Flute 3. Soon after, Flute 4 and then Flute 5 take up the theme, and toward the close of the piece, the same theme is heard in Flutes 3, 5, and then 1 again, respectively. Three verses of America the Beautiful are presented, each portraying the song with added variations, and three keys are surpassed by the close of the work. Very carefully put together and designed to educate the ears of the listener to the end, America the Beautiful will truly be a beautiful addition to the music of any patriotic event.
$7.99 ≈
7.16€
Three Poetics for Clarinet and Trombone
Three Poetics for Clarinet and Trombone
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Clarinette, Trombone (duo)
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Sy Brandon
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butterfly 2,3,6,8,2,2,4,6,8,2
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Three Poetics for Clarinet and
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Sy Brandon
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SheetMusicPlus
Instrumental Duet Clarinet,Instrumental Duet,Trombone - Level 4 - SKU: A0.755341 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 26 ...
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Instrumental Duet Clarinet,Instrumental Duet,Trombone - Level 4 - SKU: A0.755341 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 26 pages. Sy Brandon #6676423. Published by Sy Brandon (A0.755341). This composition consists of three movements that are influenced by poetic forms. I. Shadorma - A shadorma has 6 line stanzas where the lines have a syllable count of 3,5,3,3,7,5 respectively. The syllable count was translated into meter therefore creating 3/8, 5/8, two measures of 3/8, 7/8, and 5/8 resulting in 6 measure phrases. II. Cinquain - A cinquain is an American Poem invented by Adelaide Crapsey. It is five lines long and uses a syllable count of 2,4,6,8,2 to determine the line breaks. Three possible variants are mirror 2,4,6,8,2,4,6,8,2; butterfly 2,3,6,8,2,2,4,6,8,2; and reversal 2,8,6,4,2. Mirror and reversal are used in this movement therefore creating a pattern of 2,4,6,8,2,8,6,4,2. The syllable count is reflected in the number of notes in each phrase. III. Bantu - The bantu originated from Swahili speakers therefore incorporating the idea of call and response. The stanzas are couplets where the first line is more metaphorical and the second line more concrete. Call and response between each instrument permeates this movement with alternations of which instrument is the leading voice.
$9.99 ≈
8.95€
The Violin Teacher's Toolkit
The Violin Teacher's Toolkit
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Violon
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FACILE
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Methodes
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Heather Figi
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Heather Figi
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The Violin Teacher's Toolkit
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Music for Young Violinists
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SheetMusicPlus
Violin Solo - Level 2 - SKU: A0.885661 Composed by Heather Figi. Arranged by Heather Figi. Instructional. 70 pages. Music for Young Violinists #3139387....
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Violin Solo - Level 2 - SKU: A0.885661 Composed by Heather Figi. Arranged by Heather Figi. Instructional. 70 pages. Music for Young Violinists #3139387. Published by Music for Young Violinists (A0.885661). How many times have you explicitly given an assignment to a student and they come back the next week unable to replicate the teaching goals?Having taught the violin for 20 years, this was a familiar scenario for me, and it led to the creation of the materials in the Teacher’s Toolkit collection from Music for Young Violinists. This resource will help students practice the correct way independently so they achieve optimal results with their hard work and home practice time.You can download a sample from this collection of the Bach Double Concerto subdivided into sixteenth notes by filling out the contact form on the HOME page or FREEBIES page: https://www.musicforyoungviolinists.com/This 70 page *eBook contains the following materials:1- Nine Progressive Sight Reading Exercises + Five Step Approach to Teaching Sight Reading Chart2- Eight Scales & Twinkles in the Keys of C & G, D & A, Bb & F, A & E Major (organized in pairs to teach correlating finger patterns)​3- Subdivision Worksheets & Practice Guides:May SongDona Nobis Pacem (with fingerings & without fingerings)Concerto No. 2 in D Major, 3rd Mvmt., F. Seitz, (Measures 68-83)Concerto in D Minor, Mvmt. I, J.S. Bach4- Composition, Third Position, Ring Tones, Visual Formatting, Solfège, High/Low 2nd Fingers, Rondo Form Puzzle & Staff Paper:Twinkle, Twinkle Little Star & May Song Comparison WorksheetThird Position Study SheetRing, Ring, Ring (Ringtone Study for Violinists)La Folia ThemeDo-Re-Mi SongStudy for High & Low 2nd FingersMartini Gavotte PuzzleStaff Paper (5 Sizes)5- Notes6. Free Charts & Materials - The materials in this portion of The Violin Teacher's Toolkit are not under copyright protection as the rest of this collection. Violin teachers can print as many copies as they need of the resources included here in the Free Charts & Materials section for use in educational settings. All of these materials are also available on the M4YV FREEBIES page (https://www.musicforyoungviolinists.com/)Staff Paper (various sizes)FlashcardsAdd-a-note scales: A Major & G Major Chart: How to Sight Read*Chart: 15 Tips to Optimize Violin Practice *Chart: How to Teach Violin: Solve Problems Strategically with Senses and Brain Hemispheres *Charts: How to Buy a Used Violin & Quality Inspection Checklist*Charts: Finger Patterns*Chart: Quick Tip for Relieving Performance Nerves​* Correlating tutorial videos are available on the Music for Young Violinists website and YouTube channel. Use the search bar to locate specific videos.​* Please note this eBook is a digital download and no physical item will be sent. Once you order this collection, you will be re-directed to a link that allows you to download the Teacher's Toolkit and print it out from the convenience of home.A friendly reminder that integrity starts with you.I offer a very generous bulk discount if you need more than a single copy of this product.
$30.00 ≈
26.87€
Choros No 1
Choros No 1
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Heitor Villa Lobos
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Renato Esteves
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Choros No 1
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Renato Esteves
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SheetMusicPlus
String Ensemble,String Quintet Cello,Double Bass,Viola,Violin - Level 3 - SKU: A0.513367 Composed by Heitor Villa Lobos. Arranged by Renato Esteves. Cla...
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String Ensemble,String Quintet Cello,Double Bass,Viola,Violin - Level 3 - SKU: A0.513367 Composed by Heitor Villa Lobos. Arranged by Renato Esteves. Classical,Latin,Multicultural,World. Score and parts. 29 pages. Renato Esteves #124134. Published by Renato Esteves (A0.513367). Villa-Lobos composed Chôros No. 1 in Rio de Janeiro in 1920, originally publishing it under the title Chôro tÃpico, then Chôro tÃpico brasileiro. The title is taken from an improvisational genre of Brazilian instrumental popular music that originated in Rio de Janeiro in the nineteenth century. The Portuguese word choro (pronounced [ˈʃoɾu]), means cry or lament, though most music of this type is far from being sorrowful. Four years after composing this work, at the time of his first visit to Paris, he decided to make it part of an extended cycle of works collectively titled Chôros, which eventually included fourteen numbered compositions, plus an Introduction aux chôros (Introdução aos chôros): Ouverture, for guitar and orchestra, designed to be played before a complete performance of the cycle, and Chôros bis, a two-movement duo for violin and cello, considered as a sort of encore piece. A Quintet (em forma de chôros), for five woodwind instruments (1928) is sometimes considered as related. In the context of the larger cycle, Chôros No. 1 is like the essence, the embryo, the psychological model that will be developed technically in the conception of all the Chôros.[1] The score of Chôros No. 1 is dedicated to Ernesto Nazareth, and a recording of it made by the composer lasts just under four minutes. Unlike the successor works, there is no attempt here to synthesize different aspects of Brazilian music into a stylistic montage. Instead, it employs the patterns, figurations, and simple structure characteristic of the improvised music of such celebrated chorões of the late-nineteenth and early twentieth centuries as Zequinha de Abreu, Quincas Laranjeiras [pt], Chiquinha Gonzaga, and Catulo da Paixão Cearense [pt].[2] This simplicity and the beauty of its composition have made it a favourite with professional guitarists.[3] Footnotes Villa-Lobos 1972, p. 210. Wright, Simon. 1992. Villa-Lobos. Oxford Studies of Composers. Oxford and New York: Oxford University Press. ISBN 0-19-315476-5 (cloth); ISBN 0-19-315475-7 (pbk). p. 62. Appleby, David. 2002. Heitor Villa-Lobos: A Life (1887–1959). Lanham, MD: Scarecrow Press. ISBN 978-0-8108-4149-9. p. 80. https://en.wikipedia.org/wiki/Ch%C3%B4ros_No._1.
$20.00 ≈
17.91€
March of the Enchanted Toys
March of the Enchanted Toys
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Brian L
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March of the Enchanted Toys
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BLM Music Publications
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SheetMusicPlus
Percussion Ensemble Sleigh Bells,Woodblock,Xylophone - Level 1 - SKU: A0.1323033 Composed by Brian L. Monroe. Children,Christmas,Holiday,Instructional. ...
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Percussion Ensemble Sleigh Bells,Woodblock,Xylophone - Level 1 - SKU: A0.1323033 Composed by Brian L. Monroe. Children,Christmas,Holiday,Instructional. 28 pages. BLM Music Publications (https://brianmonroemusic.com) #911304. Published by BLM Music Publications (https://brianmonroemusic.com) (A0.1323033). About the PieceT'was the day after Christmas and magic was in the air.The toys had been played with and were thrown about without care.  but with a bell's magic jingle, they suddenly came alive,and moved to gather three, four, then five.  They began to march in an enchanted paradeKeeping good time like a well-trained brigade.They continued their hike around the tree with prideso festive and happy just to be free and alive.But the magic was waining with the jingle of bellsand the toys disbanded and said their farewells,Their magic had run out, at least for this yearIt would be 365 days before the March of the Enchanted Toys would again reappear. March of the Enchanted Toys is a work for beginning-level percussionists.  A simple melody and rhythmic patterns make it easier to teach and learn.  In addition, the score and parts are all written with alpha notes, making it easier for young students to read the notes that are not usually in their range.     Instrumentation:  For 6-12 Percussionists 4 Bells Sets (written for beginning percussion kits),  Xylophone,  Triangle,  Ratchet,  Vibraslap,  Wood Block,  Bass Drum,  Sleighbells,  Temple Blocks (5)If you wish to play this with reduced instrumentation, Use the instruments in this order: 4 Bells  Xylophone  Sleighbells  Ratchet/Vibraslap (played by 1 player) Temple Blocks Triangle Wood Blocks.
$15.00 ≈
13.43€
Rock Guitar Essentials
Rock Guitar Essentials
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Guitare
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DÉBUTANT
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Rock
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Corey Christiansen
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Rock Guitar Essentials
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Beginning - SKU: M0.30574EB Gig Savers Complete Edition. Composed by Corey Christiansen. Gig Savers. Rock and blues, jazz and contempora...
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Guitar - Beginning - SKU: M0.30574EB Gig Savers Complete Edition. Composed by Corey Christiansen. Gig Savers. Rock and blues, jazz and contemporary. E-book. Mel Bay Publications - Digital Sheet Music #30574EB. Published by Mel Bay Publications - Digital Sheet Music (M0.30574EB). ISBN 9781619116894. 8.75x11.75 inches.Rock Guitar Essentials: Gig Savers Complete Edition combines Corey Christiansen's five previous pocket-sized books. Part 1 of this comprehensive edition gives aspiring rock guitarists a working knowledge of the most basic scales commonly used to improvise rock solos and write rock melodies. A discussion on how each scale can be used over a set of chords is provided to help guitarists use these scales when performing. Charts provide the names of the notes on the fretboard and a section on sequencing scales makes it possible for guitarists to easily master rock scales. Part 2 teaches the rock guitarist how to play any barre chord, providing insight on how to play them with ease and agility. Moveable chord shapes and practice etudes are especially useful for beginners. Part 3 presents comprehensive warm-up and technical exercises. Studies begin at the most basic level and progress in difficulty. This chapter gives guitarists the information needed to continue constructing their own technical exercises. Part 4 presents accompaniment patterns for a wide variety of pop styles such as folk, rock/blues, country/bluegrass, jazz, and some Latin styles including bossa nova and samba. Basic fingerstyle accompaniment patterns are taught in a simple manner, presented with rhythmic notation and string numbers. This chapter pays special attention to the blues, covering alternate changes and substitutions in a method that provides easy transposition. (Chapters 3, 4 and 5 are also included in Jazz Guitar Essentials: Gig Savers Complete Edition).
$14.99 ≈
13.42€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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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 - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
21.48€
COMPLETE Mixed Abilities Classroom Ensemble Pack AND Christmas Pack! Mega value bundle of the whole TWO series of music for classrooms and school ensembles
COMPLETE Mixed Abilities Classroom Ensemble Pack AND Christmas Pack! Mega value bundle of the whole TWO series of music for classrooms and school ensembles
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Ensemble d'École
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FACILE
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Enfant
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Welsh trad
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COMPLETE Mixed Abilities Class
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Austin Ralphson
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SheetMusicPlus
Composed by Welsh trad., French Trad, L Mason, F. Gruber, J. Pierpont. Arranged by Austin Ralphson. Blues, Funk Jazz, Classroom, General Instructional...
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Composed by Welsh trad., French Trad, L Mason, F. Gruber, J. Pierpont. Arranged by Austin Ralphson. Blues, Funk Jazz, Classroom, General Instructional, Christmas. Score, Set of Parts. 973 pages. Published by Austin Ralphson
This pack contains over 900 pages of music for mixed ability ensembles. There are 4 original pieces and 5 Christmas pieces, as follows:
The Mixed Abilities School Ensemble Series
Children (and adults) who learn a musical instrument will always progress at different rates.Students also develop some of the many skills involved in instrumental playing faster than other skills.
The Mixed Abilities School Ensemble Series has the flexibility to allow pupils of different standards to play together in one ensemble (up to five parts). It also encourages students to develop improvisation skills by providing soloing opportunities within all parts, with suggested pitches for improvising.
Each piece has five different parts which are split into four ability levels as follows:
A ? Range of about 5 notes, easy rhythms. B ? Range of about 1 octave, basic rhythms. C ? Range of about a 12th, some more difficult rhythms. D ? Range of about 2 octaves, some rhythmic complexity.
This enables the teacher to select parts which are suitable for the standard of individual players in the group. As a general rule, the pieces have been composed as follows:
Part 1 ? melody / countermelody (alternates with Part 2)
Part 2 ? melody / countermelody (alternates with Part 1)
Part 3 ? accompaniment (synchronises with Part 4)
Part 4 ?accompaniment (synchronises with Part 3)
Part 5 ? bass line (independent)
Each part also comes in a wide array of transpositions, clefs and pitches. Hence, almost any combination of instruments can play together in an ensemble of mixed abilities,including:
Flutes, clarinets, saxophones, mixed woodwind, trumpets, mixed brass (including brass band), violins, strings, keyboards/pianos, tuned percussion.
An ensemble using any combination of instruments (as is often found within schools) will work effectively as well.
Example: A quintet might be selected as follows:
1A (violin), 2C(trumpet), 3B (clarinet), 4B (tenor sax), 5D (trombone)
The melody in 1A would be very simple but would contrast nicely when passed to the more difficult 2C. Parts 3B and 4B will have quite a simple accompaniment between them, whilst the bass line on 5D will be more complex and rhythmically interesting. Parts can obviously be doubled up as well beyond five players.
Please note that the teacher of the ensemble should be careful to pick parts which are well-suited to the players? abilities.
This pack includes all four pieces in the series (volumes 1 and 2) as follows:
BANANA BLUES is a 12-bar Blues piece
CRAZY LATIN! has additional parts for Latin percussion commonly found in the classroom
IT'S TIME FOR REGGAE! is a reggae piece
FEEL THE FUNK brings funky, James Brown-esque rhythms into the classroom.
Please listen to the mp3 file, which is an electronic example of a typical classroom setup.
Score and all parts are included here in a variety of pitches, clefs and transpositions. It is the complete package with over 680 pages of music, representing a massive saving on individual purchase prices.
5 Christmas pieces:
Each piece is arranged into 13 different parts which cater for the large majority of musicians within school. These include:
* a variety of difficulties in C, B flat, E flat, higher octave for flutes and alto clef for violas
* easy and standard bass parts in treble and bass clefs, and also in B flat and E flat for saxophones or brass band players
* very easy violin and viola parts on open strings only
* easy and standard piano parts
* ukulele part in tab, chord patterns and chord letters
* guitar part in tab, chord patterns and chord letters
* general chord plan in chord letters
Teachers / band leaders can select the parts which are most appropriate for their students. The music is intended to be repeated a number of times, with different parts coming in and out for each repeat to create variety.
Printing and Copying
The purchaser may print or copy all pages of this resource as required in order to facilitate a performance, but must not distribute to others.
** Also check out my Scales and Arpeggios Pack - excellent methods for learning scales and arpeggios at all levels (copy and paste into new tab) https://tinyurl.com/y8wl3qnq **
$34.99 ≈
31.34€
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Five Notes Pattern 5
