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Imitation Rag
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Vous avez sélectionné:
Imitation Rag
Partitions à imprimer
14 partitions trouvées
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1
Imitation Rag
Imitation Rag
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Guitare
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FACILE
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Doug Smith
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Imitation Rag
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Doug Smith Guitar Studio
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1166201 Composed by Doug Smith. Classical,Folk,Instructional,Ragtime. Individual part. 6 pages. Doug Smith Guitar Studio...
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Solo Guitar - Level 2 - SKU: A0.1166201 Composed by Doug Smith. Classical,Folk,Instructional,Ragtime. Individual part. 6 pages. Doug Smith Guitar Studio #766580. Published by Doug Smith Guitar Studio (A0.1166201). Imitation Ragn is an energetic little piece in the first position that begins in the key of C major, then transitions to E minor and A major before returning to C major. There are slurs, strums, bass runs. Pimi arpeggios and at one point a five fret stretch.
$1.99 ≈
1.83€
The Fight Is On
The Fight Is On
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Folklorique/Traditionel
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Leila N
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Dana F
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The Fight Is On
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David E. Smith - Digital Sheet Music
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SheetMusicPlus
Brass Quintet - Grade 3 - SKU: DX.145510 Composed by Leila N. Morris. Arranged by Dana F. Everson. Sacred instrumental music. Sheet Music. Traditional. ...
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Brass Quintet - Grade 3 - SKU: DX.145510 Composed by Leila N. Morris. Arranged by Dana F. Everson. Sacred instrumental music. Sheet Music. Traditional. Score and parts. 17 pages. David E. Smith - Digital Sheet Music #145510. Published by David E. Smith - Digital Sheet Music (DX.145510). Scored as a traditional bras quintet, the piece is a vigorous march in style and form. With fragments of the tune in the upper brass and answered in the lower voices. The second statement of the theme the roles are reversed. A modulation takes place and the theme is fragmented amongst the parts. Imitation takes place with some Q&A where it all leads up to a joyous conclusion. It sounds and feels like a school Fight Song.
$11.00 ≈
10.14€
Seven Pieces in Twentieth-Century Styles
Seven Pieces in Twentieth-Century Styles
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Piano seul
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INTERMÉDIAIRE
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James Siddons
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Seven Pieces in Twentieth-Cent
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and W...
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Piano Solo - Level 3 - SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com
$5.00 ≈
4.61€
Variations for Flute and Piano
Variations for Flute and Piano
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Flûte traversière et Piano
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AVANCÉ
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Robert Cunningham
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Variations for Flute and Piano
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Robert E Cunningham
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SheetMusicPlus
Flute,Piano - Level 5 - SKU: A0.943191 Composed by Robert Cunningham. 20th Century,Contemporary. Score and part. 50 pages. Robert E Cunningham #4728515....
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Flute,Piano - Level 5 - SKU: A0.943191 Composed by Robert Cunningham. 20th Century,Contemporary. Score and part. 50 pages. Robert E Cunningham #4728515. Published by Robert E Cunningham (A0.943191). The Variations for Flute and Piano (1990) are a dynamic and virtuosic work consisting of an original theme, ten variations, and a coda. In addition to traditional devices like contrapuntal imitation, inversion, and fragmentation, many of the variations hearken back to earlier periods in music history. Variation III is suggestive of an aria from Baroque opera, Variation VIII spoofs twentieth-century avant-garde music, and the piano part in Variation X evokes Rachmaninoff. The brilliant coda is a pyrotechnic tour de force for both players.
$14.95 ≈
13.78€
Heidenröslein: Variations on a Theme by Franz Schubert
Heidenröslein: Variations on a Theme by Franz Schubert
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Franz Schubert, Kayla Roth
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Heidenröslein: Variations
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Kayla Roth
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SheetMusicPlus
Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroq...
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Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 27 pages. Kayla Roth #3373343. Published by Kayla Roth (A0.927030). From the composer's program notes included with this purchase:I have taken Schubert’s famous setting and arranged it in a set of musical homages to other composers. I have also included Schubert’s original theme, transposed down to F, and I would recommend playing it twice in the beginning to give your audience a good idea of it.For most of the pieces, I tried to capture the composer’s overall style; however, there are a few particular pieces that are either quoted or used as the stylistic basis, as follows: Mozart - I based this variation, stylistically, on Piano Concerto No. 21 in C major (K.467), specifically movement two (Andante), as well as some of his earliest childhood piano compositions. Symphony 40 in G minor (K.550) is quoted rhythmically. Strauss, Jr. - For inspiration, I used Du und Du, Op. 367, a waltz that is derived from various parts of his beloved operetta, Die Fledermaus. I quoted rhythms from this, as well as from Frühlingsstimmen, Op. 410. Joplin - I didn’t base this on any particular piece of Joplin’s; I tried to include elements that are common in his rags (a short introduction, arpeggiated diminished seventh chords, chromaticism, syncopation over a boom-chuck). Perhaps the best advice comes from Joplin himself: Don’t play this piece fast. It is never right to play ragtime fast. Porter - I had to include an offering from the Great American Songbook! Frank Sinatra recorded several of Porter’s well-known tunes in the 1940s, such as Easy To Love, Night and Day, and I Love You; his renditions of these songs are heavy on the schmaltz and sentimentality, which is exactly what I was trying to achieve in this variation.Bach - The minor variation! I had Fugue in G minor, BWV 578 (Little Fugue) in mind when writing this.der Jodelkönig - As Heidenröslein is a strophic, folk-songesque German piece, I thought it fitting to end the variations with an imitation of traditional Alpine yodeling. It is named in honor of Franzl Lang, the Yodelking.
$20.00 ≈
18.43€
Miserere Mei
Miserere Mei
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Chorale SATB
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FACILE
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César Zumel
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Miserere Mei
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César Zumel
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.939977 Composed by César Zumel. Christian,Easter,Gospel,Spiritual. Octavo. 3 pages. César Zumel #3067073. ...
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Choral Choir (SATB) - Level 2 - SKU: A0.939977 Composed by César Zumel. Christian,Easter,Gospel,Spiritual. Octavo. 3 pages. César Zumel #3067073. Published by César Zumel (A0.939977). Great way to start a concert! Miserere (psalm 50) is a processional march for SATB choir. First bars are really a processional march, while chorus is a poliphonic song generating an atmosphere of round. Verses are gregorian imitation. Effective and easy for creating an atmosphere in line with Easter sorrow. It could be performed marching the choir, and an small group singing the gregorian imitation.Tesiture not so demanding makes it afordable for all type of choirs. The highest tesiture has a short durationg going back to relaxed one soon. It is usefull for conductors to start to work the Easter season, using it as warming up exercise (progresivity, mantric, self voice control,...).It is really interesting for starting a concert marching the choir to the stage, or at least to start the concert.At services it could be used at communio.For aditional info, please contact czmorago@gmail.com
$3.00 ≈
2.76€
Introit
Introit
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Robert A
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Introit
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Robert A. Howard
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SheetMusicPlus
Horn,Trombone,Trumpet - Level 4 - SKU: A0.998841 Composed by Robert A. Howard. 20th Century,Classical,Contemporary,Standards. 8 pages. Robert A. Howard ...
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Horn,Trombone,Trumpet - Level 4 - SKU: A0.998841 Composed by Robert A. Howard. 20th Century,Classical,Contemporary,Standards. 8 pages. Robert A. Howard #6139319. Published by Robert A. Howard (A0.998841). This piece was a originally a Gloria for 4 voices (counter-tenor, 2 tenors & baritone) and is based on the only remaining fragment from a 'Gloria super da gaudiorum premia' by John Dunstaple. This brass quartet version exploits the chorale aspects of the work and uses much imitation and occasional instrumental doublings. The work is named 'Introit' for optional use as an opening piece, but also reflects the use of the Dunstaple Gloria fragment. The latter appears in each part at some point, with all remaining material being the composer's own, within a set of free variations. Introit also explores regularly changing time signatures. The piece is accessible and is appropriate for higher standard musicians, including students and the more advanced. Duration: 5 minutes 30 seconds.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk.
$7.99 ≈
7.36€
Seterjentes fridag
Seterjentes fridag
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Michael Finnissy
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Seterjentes fridag
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Oxford University Press Digital
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SheetMusicPlus
Fiddle, reed-organ and instrumental quartet - SKU: OX.9780193202603 Composed by Michael Finnissy. Set of parts. 15 pages. Oxford University Press Digita...
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Fiddle, reed-organ and instrumental quartet - SKU: OX.9780193202603 Composed by Michael Finnissy. Set of parts. 15 pages. Oxford University Press Digital #9780193202603. Published by Oxford University Press Digital (OX.9780193202603). ISBN 9780193202603.For hardanger fiddle, either solo or accompanied by reed-organ and/or piano (live or pre-recorded) and instrumental quartet. The piece is a 'cut-up' of passages quoted from, or composed in imitation of, traditional hardanger fiddle repertoire. Some of the music is notated in detail and in full and some does not specify any particular order for the performance of the 'fragments' and leaves their ornamentation to the discretion of the player. There are two optional accompaniment-strands (either or both may be played if at all), consisting of slow-moving hymnody with a lot of gaps in he harmony.
$30.99 ≈
28.56€
Det förlorade paradiset
Det förlorade paradiset
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Chorale TTBB
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Kjell Perder
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Det förlorade paradiset
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Bo Ejeby Forlag - Digital
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SheetMusicPlus
SATB chorus and reciter - SKU: BJ.1427 Das verlorene Paradies. Composed by Kjell Perder. A paradise lost – A choral work in honour of Beet...
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SATB chorus and reciter - SKU: BJ.1427 Das verlorene Paradies. Composed by Kjell Perder. A paradise lost – A choral work in honour of Beethoven. Secular. Octavo. 24 pages. Bo Ejeby Forlag - Digital #1427. Published by Bo Ejeby Forlag - Digital (BJ.1427). 8.27 x 11.7 inches.In the symphony popularly known as the Pastoral, Beethoven delineates his deep love for nature, for the peace of the countryside along with the drama of a thunderstorm. Little could he know how industrialism, urbanisation, exploitation and a general lack of respect would come to be a threat to Mother Earth. When we hear the nightingale, the cuckoo, and the rumbling of thunder in Beethoven's sixth symphony, the aim of the composer is to express his emotions with regard to these sounds of nature rather than imitate them (Mehr Empfindung als Malerei!). Yet the Pastoral Symphony became a model for 19th century programme music composers who wished to renew the symphonic format with storytelling and a freer artistic idiom. The vocal work Det forlorade paradiset (The lost paradise) makes reference to Beethoven's ontologically anchored love for Creation, but also to the fundamental tension between the idyllic and encroaching threats, the very factors that give the Pastoral Symphony its richness and inevitability. The lyrics have nothing to do with John Milton's famous epos Paradise Lost, they foretell an approaching apocalypse created by mankind in this age of pollution and climate change. The choral text consists of fragments of Schiller's Ode an die Freude (used by LvB in his 9th Symphony). A few quotes by Beethoven will be recited as well.The basic principal of this composition is to present soothing parallel - tonally based - streams of nature sounds and idyllic surroundings with the gathering of ominous clouds of approaching disaster: ferocious fires, torrents of rain and stormy winds (where the singers make use of clusters, chanting, growl, stamping their feet, etc). Doch mehr Empfindung als Malerei! (emotion rather than mere imitation). A nod or two to Mr. Beethoven by way of droning and using chromatic runs. The performance can be choreographed for extra impact, but it is equally possible to perform the music as a concert piece. - Kjell Perder.
$6.40 ≈
5.90€
Accidentally In Love
Accidentally In Love
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Counting Crows
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Peter Hazzard
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Accidentally In Love
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BKJ Publications
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1116627 By Counting Crows. By Adam F. Duritz, Dan Vickrey, David Bryson, David Immergluck, and Matthew Malley. A...
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Choral Choir (SATB) - Level 4 - SKU: A0.1116627 By Counting Crows. By Adam F. Duritz, Dan Vickrey, David Bryson, David Immergluck, and Matthew Malley. Arranged by Peter Hazzard. A Cappella,Pop. Octavo. 11 pages. BKJ Publications #718274. Published by BKJ Publications (A0.1116627). This a cappella arrangement was done for better than average high school singers in 2012. There is a lot of vocal imitation of guitars in the accompaniment.
$2.50 ≈
2.30€
Tagebuch
Tagebuch
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Piano seul
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Georg Kroell
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Tagebuch
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Schott Music - Digital
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SheetMusicPlus
Piano - intermediate to advanced - SKU: S9.Q3107 145 Stücke. Erweiterte Neuausgabe 2015. Composed by Georg Kroell. This edition: Sheet music. ...
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Piano - intermediate to advanced - SKU: S9.Q3107 145 Stücke. Erweiterte Neuausgabe 2015. Composed by Georg Kroell. This edition: Sheet music. Ausgezeichnet mit dem Deutschen Musikeditionspreis 1999. Downloadable. Schott Music - Digital #Q3107. Published by Schott Music - Digital (S9.Q3107). Georg Kröll (born 1934), studied composition with Frank Martin and Bernd Alois Zimmermann, piano with Else Schmitz-Gohr - herself a student of Max Reger -, he also attended courses and lectures by Pousseur, Boulez and Maderna. His ‘Tagebuch’ consists of a series of short piano pieces, their key notes are based on a twelve-note series from Schönberg’s Suite for Piano Op. 25 and are reached via a series of permutations. ‘Just as one can, with a little imagination, see pictures in cloud formations, or discern human or animal shapes in rocks weathered by the wind and the rain, so the sounds inherent in any given material trigger associations. These then crystallise into an inspiration, a structure, a form, or a chord reminiscent of Beet-hoven, a motif by Stravinsky, a clausula by Dufay, a theme by Frescobaldi - the gradual shaping of an idea. The great store of existing material inspires the imagination and a certain joy of discovery, while the external limitations of pre-existing material provide the freedom for internal creative exploration. This is how parodies, homages, paraphrases and quotes are created, shaped from blocks of sound, fragments and aphorisms.’ (Georg Kröll).
$42.99 ≈
39.61€
Man D'Bone
Man D'Bone
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Robin Thomson
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Robin Thomson
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Man D'Bone
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Robin Thomson
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SheetMusicPlus
Instrumental Duet,Mandolin,Trombone - Level 2 - SKU: A0.1148759 Composed by Robin Thomson. Arranged by Robin Thomson. 20th Century,Chamber,Contemporary....
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Instrumental Duet,Mandolin,Trombone - Level 2 - SKU: A0.1148759 Composed by Robin Thomson. Arranged by Robin Thomson. 20th Century,Chamber,Contemporary. 8 pages. Robin Thomson #748878. Published by Robin Thomson (A0.1148759). A Duo for Trombone and Mandolin in which the trombonist will use a Softone mute with whole bell coverage for a soft warm 'growless' tone and keep in mind the dynamic limitations of the mandolin at all times.
$1.99 ≈
1.83€
Golliwog's Cakewalk for Clarinet Sextet
Golliwog's Cakewalk for Clarinet Sextet
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Keith Terrett
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Keith Terrett
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Golliwog's Cakewalk for Clarin
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Keith Terrett
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SheetMusicPlus
Clarinet Ensemble,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - SKU: A0.1430401 By Keith Terrett. By Claude Debussy. Arranged by Keith Ter...
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Clarinet Ensemble,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - SKU: A0.1430401 By Keith Terrett. By Claude Debussy. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural,World. 19 pages. Keith Terrett #1011008. Published by Keith Terrett (A0.1430401). A transcription of Debussy’s Golliwog’s Cakewalk for Clarinet Sextet.At the time of its composition, Golliwog's were in fashion, due partly to the popularity at that time of the novels of Florence Kate Upton (golliwog is a later usage). They were stuffed black dolls with red pants, red bow ties and wild hair, somewhat reminiscent of the black-face minstrels of the time. This is a ragtime piece with its syncopations and banjo-like effects. The dynamic range is quite large and very effective. The B section of this dance is interrupted on several occasions by the love-death leitmotif of Richard Wagner’s opera Tristan und Isolde, marked avec une grande émotion (with great feeling). Each quotation is followed with banjo imitations. The cakewalk was a dance or a strut and the dancer with the most elaborate steps won a cake (took the cake). Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.
$12.99 ≈
11.97€
Golliwog's Cakewalk for Recorder Sextet
Golliwog's Cakewalk for Recorder Sextet
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Keith Terrett
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Keith Terrett
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Golliwog's Cakewalk for Record
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Keith Terrett
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SheetMusicPlus
Woodwind Ensemble Alto Recorder,Bass Recorder,Descant Recorder,Soprano Recorder,Tenor Recorder - Level 4 - SKU: A0.1430413 By Keith Terrett. By Claude D...
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Woodwind Ensemble Alto Recorder,Bass Recorder,Descant Recorder,Soprano Recorder,Tenor Recorder - Level 4 - SKU: A0.1430413 By Keith Terrett. By Claude Debussy. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural,World. 18 pages. Keith Terrett #1011020. Published by Keith Terrett (A0.1430413). Golliwogg's Cakewalk arranged for Recorder Sextet.At the time of its composition, Golliwog's were in fashion, due partly to the popularity at that time of the novels of Florence Kate Upton (golliwog is a later usage). They were stuffed black dolls with red pants, red bow ties and wild hair, somewhat reminiscent of the black-face minstrels of the time. This is a ragtime piece with its syncopations and banjo-like effects. The dynamic range is quite large and very effective. The B section of this dance is interrupted on several occasions by the love-death leitmotif of Richard Wagner's opera Tristan und Isolde, marked avec une grande émotion (with great feeling). Each quotation is followed with banjo imitations. The cakewalk was a dance or a strut and the dancer with the most elaborate steps won a cake (took the cake).Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.
$12.99 ≈
11.97€
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Imitation Rag
