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In a Jolly Mood
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Vous avez sélectionné:
In a Jolly Mood
Partitions à imprimer
6 partitions trouvées
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1
In a Jolly Mood
In a Jolly Mood
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Eckhard Kopetzki
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In a Jolly Mood
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Musikverlag Zimmermann - Digital
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SheetMusicPlus
Flute and vibraphone - intermediate to advanced - SKU: S9.Q50048 Composed by Eckhard Kopetzki. This edition: Sheet music. Flute and Percussion. Download...
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Flute and vibraphone - intermediate to advanced - SKU: S9.Q50048 Composed by Eckhard Kopetzki. This edition: Sheet music. Flute and Percussion. Downloadable. Duration 5' 20. Musikverlag Zimmermann - Digital #Q50048. Published by Musikverlag Zimmermann - Digital (S9.Q50048). German • English • French.The tonal language of this piece resembles the type of music of jazz and rock which contains romantic elements and which was played by Chick Corea, Keith Jarrett and others in the seventies. This kind of music was called beautified jazz, meaning jazz made more beautiful by using chamber music instrumentation, which creates an immediate charm and a jolly mood due to its straight play. The calm introduction is followed by the flute theme, accompanied by the vibraphone. Afterwards, we encounter a thematic development which consists of frequent imitations as well as flute soli passages accompanied by the vibraphone. The composition is part of the series flute and percussion, it is of intermediate difficulty.
$12.99 ≈
11.67€
Organ Sortie in D
Organ Sortie in D
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Orgue
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INTERMÉDIAIRE
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Simon Peberdy
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Organ Sortie in D
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Simon Peberdy
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SheetMusicPlus
Organ - Level 3 - SKU: A0.756954 Composed by Simon Peberdy. Contemporary,Standards,Wedding. Score. 4 pages. Simon Peberdy #1984641. Published by Simon P...
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Organ - Level 3 - SKU: A0.756954 Composed by Simon Peberdy. Contemporary,Standards,Wedding. Score. 4 pages. Simon Peberdy #1984641. Published by Simon Peberdy (A0.756954). A bright, jolly piece to send everyone out of the church in a good mood and with a spring in their step.One of a series of organ pieces in different styles to suite all occasions. For more, visit www.simonpeberdymusic.com
$1.99 ≈
1.79€
It's A Long Way To Tipperary
It's A Long Way To Tipperary
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Chorale 3 parties
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INTERMÉDIAIRE
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Harry Williams and Jack Judge
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Tom Rodgers
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It's A Long Way To Tipperary
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Tom Rodgers
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SheetMusicPlus
Choral Choir (SAB) - Level 3 - SKU: A0.1229129 Composed by Harry Williams and Jack Judge. Arranged by Tom Rodgers. 20th Century,Celtic,Historic,Irish,Pa...
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Choral Choir (SAB) - Level 3 - SKU: A0.1229129 Composed by Harry Williams and Jack Judge. Arranged by Tom Rodgers. 20th Century,Celtic,Historic,Irish,Patriotic. Octavo. 7 pages. Tom Rodgers #825032. Published by Tom Rodgers (A0.1229129). One of the most famous songs used in the First World War, It's A Long Way To Tipperary, has long been in the musical consciousness at times of Remembrance across the UK and beyond. This arrangement, for SAB with piano, captures the jolly mood of this uplifting song with a repeated chorus at the end to perhaps get your audience to join in with gusto!
$3.99 ≈
3.58€
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 ≈
31.44€
Variations on Home Sweet Home for flute quartet (mp3)
Variations on Home Sweet Home for flute quartet (mp3)
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Quatuor de Flûtes : 4 flûtes
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INTERMÉDIAIRE/AVANCÉ
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Budapest Scoring
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David Warin Solomons
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Variations on Home Sweet Home
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David Warin Solomons
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SheetMusicPlus
Level 4 - SKU: A0.1136488 By Budapest Scoring. By Henry R Bishop. Arranged by David Warin Solomons. Classical,Comedy,Contemporary. Full Performance. Dur...
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Level 4 - SKU: A0.1136488 By Budapest Scoring. By Henry R Bishop. Arranged by David Warin Solomons. Classical,Comedy,Contemporary. Full Performance. Duration 328. David Warin Solomons #736487. Published by David Warin Solomons (A0.1136488). A parodical instrumental version of Henry Bishop's famous tune (There's no place like home). Each variation gives the tune to a different instrument in the group and the various styles represent the various uncles we might visit, who lend their own national flavour to the tune, before returning to our original home. The sequence is: The original composition by Henry R. Bishop Variation 1. Uncle Hamish - involving Scottish snaps and bagpipe drones and a brief quote fom Scotland the Brave Variation 2. Uncle Scott (Joplin) a sort of ragtime version Variation 3. L'Oncle Olivier (Messaien) - a moody version in octatonic mode (one of Messaiens' favourite modes) Variation 4. Uncle Wu - a major pentatonic version in honour of a doctor of mine Variation 5. Onkel Johann (Strauss) a jolly waltz Variation 6. Back Home Performed by Anita Szabó Ildikó Szabady Iza Nagy Boglárka Dávid.
$4.50 ≈
4.04€
Concerto for Orchestra, opus 111 (2005, rev. 2010)
Concerto for Orchestra, opus 111 (2005, rev. 2010)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Concerto for Orchestra, opus 1
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 ...
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Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 pages. Thomas Oboe Lee #15869. Published by Thomas Oboe Lee (A0.869351). Instrumentation: 3232-4331-timp-2perc-strings. When I received the invitation from Jonathan Cohler to write a Concerto for Orchestra for the Brockton Symphony, I immediately thought of all the composers who wrote works inspired by Bartok’s seminal work of the same title: Roger Sessions, Elliott Carter, Michael Tippett, Witold Lutoslawski, Joan Tower and, most recently, Jennifer Higdon. My Concerto for Orchestra, opus 111, is in five movements. It will be heard without pause between movements. I. Largo … Misterioso! II. Allegro con moto … Evidence!!! III. Adagio … Epistrophy! IV. Andante … In Walked Bud! V. Presto … Rhythm-a-ning!!! My initial idea for the Concerto was contrast - contrast between the timbres and colors that the various sections in an orchestra provide. For example, the woodwinds would provide a sharp contrast against the brass; the percussion section against the strings, etc. I also was interested in writing a work where each movement would flow into the next without pause – thus providing another form of contrast, that of tempi and mood change. A third form of contrast would be the different styles and forms of music that I would come up with. And I had a lot of fun conjuring up the many possible scenarios and orchestral tableaux. I actually started with the second movement: the Allegro con moto. I wanted something that had a nice surging quality that the whole orchestra could jump into. When I finished that, I thought perhaps it would be too intense for the opening of the work. I thought, maybe I should begin with something slower, more brooding in nature before the explosive stuff. I noticed that Carter’s Concerto began with a slow Introduction. It had a title: Misterioso. Being an avid fan of Thelonious Monk, aka Thelonious Sphere Monk, Misterioso brought to mind a Monk composition of the same title. That epiphany gave me the idea of naming each of the five movements after a Monk tune. Monk’s Misterioso is a blues with an insistent theme of 8th note patterns of rising 6ths; which has nothing to do with my first movement. My Misterioso features a solo for the bass clarinet in the midst of a shimmering atmosphere that is punctuated by accents in the bass. They are both mysterious, but divergently opposed in mood and substance. Monk’s Evidence is a tune with jabs and punches, irregularly placed within the measure – not unlike what I did in the second movement. This movement is perhaps the most Monk-ish of all. Monk’s Epistrophy is a tune constructed with a four-note pattern that is angular and twisted. I wrote a solemn brass choir movement that is an epistle in nature, a sermon of sorts. The title of Monk’s In Walked Bud refers, of course, to the amazing pianist Bud Powell. I took the word walk and translated it into an andante. What resulted was a silly, but jolly movement featuring the woodwinds. I wanted to end the work with a fast and furious finale. Inspired by the word rhythm in Monk’s Rhythm-a-ning, I began the last movement with a solo for the percussion section – timpani, tom-toms, bass drum!!! The orchestra eventually joins in the mayhem, breaking into a scherzo-like frenzy. It ends with a big bang!!! Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/concerto-for-orchestra-opus-111-2005
$9.99 ≈
8.97€
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In a Jolly Mood
