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M.i.b. Main Theme
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Vous avez sélectionné:
M.i.b. Main Theme
Partitions à imprimer
17 partitions trouvées
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1
M.i.b. Main Theme
M.i.b. Main Theme
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Quatuor à cordes: 2 violons, alto, violoncelle
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Film/TV
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Danny Elfman
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Concertize
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M.i.b. Main Theme
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Concertize
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SheetMusicPlus
String Quartet String Quartet - SKU: A0.1207860 Composed by Danny Elfman. Arranged by Concertize. Film/TV. 19 pages. Concertize #805978. Published by Co...
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String Quartet String Quartet - SKU: A0.1207860 Composed by Danny Elfman. Arranged by Concertize. Film/TV. 19 pages. Concertize #805978. Published by Concertize (A0.1207860).
$14.99 ≈
13.39€
M.I.B. Main Theme
M.I.B. Main Theme
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Piano seul
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Film/TV
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Danny Elfman
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M.I.B. Main Theme
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Hal Leonard - Digital
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SheetMusicPlus
Composed by Danny Elfman. This edition: Interactive Download. Classical, Film/TV. Piano Solo. 4 pages. Published by Hal Leonard - Digital...
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Composed by Danny Elfman. This edition: Interactive Download. Classical, Film/TV. Piano Solo. 4 pages. Published by Hal Leonard - Digital
$4.99 ≈
4.46€
Theme And Variations On TRSCH For Organ
Theme And Variations On TRSCH For Organ
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Orgue
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AVANCÉ
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Thomas R
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Theme And Variations On TRSCH
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Thomas R. Schadl
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SheetMusicPlus
Organ - Level 5 - SKU: A0.912505 Composed by Thomas R. Schadl. Concert,Contemporary,Instructional,Standards. Score. 29 pages. Thomas R. Schadl #6201739....
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Organ - Level 5 - SKU: A0.912505 Composed by Thomas R. Schadl. Concert,Contemporary,Instructional,Standards. Score. 29 pages. Thomas R. Schadl #6201739. Published by Thomas R. Schadl (A0.912505). Theme and Variations on TRSCH is a piece that is suitable for concert use. As one plays the piece, one shall realize that each variation has its own character. The work also may be used for educational purposes in that it teaches students on how a theme is transformed rhythmically and arranged melodically.Theme And Variations On TRSCH For Organ by Thomas R. Schadl consists of seven variations that are based on TRSCH (B flat, D, E flat, C, and B or A# D D# C B). It is written using the serial technique, the compositional method where a row of notes are arranged in direct, reverse, inverse and retrograde-inverse orders. The technique employed is not as strict as the 12-tone system used in the compositions of Arnold Schoenberg and Anton Webern. In a standard theme and variations form, the melody may be altered by adding or subtracting notes, or changing it rhythmically, but it is not the case in the piece being discussed. Most variations do not follow the rhythmic pattern of the main theme; rather, the theme in each variation is treated in fragments, lengthened note values, shortened note values, inversions and reversed orders. Each variation explores moods and the work is organized this way:Main Theme: m 1-6 TRSCH is stated in the bass.Variation I: m 7-22 FugatoVariation II m 23-50 Mystical quality and lyrical Variation III m 51-88 Scherzo, lyrical section, scherzoVariation IV m 89-116 ToccataVariation V m 117-224 Mystical mood, scherzo, mystical moodVariation VI m 225-297 Toccata, brief lyrical section, toccataVariation VII m 298-317 Variation I but at a slower speed.Forward ReverseA# D D# C B F F # A G# EF# A# B G# G C# D F E CF A A# G F# C C# E D# BG# C C# A# A D# E G F# DA C# D B A# E F G# G D#
$21.82 ≈
19.49€
American Dad - Main Title Theme (Good Morning U.s.a.)
American Dad - Main Title Theme (Good Morning U.s.a.)
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Chorale TTBB
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INTERMÉDIAIRE/AVANCÉ
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Matthew Weitzman, Michael Bark
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G
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American Dad - Main Title Them
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G. M. Morley
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SheetMusicPlus
Choral Choir,Choral (TTBB) - Level 4 - SKU: A0.1382865 Composed by Matthew Weitzman, Michael Barker, Seth MacFarlane, and Walter Murphy. Arranged by G. ...
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Choral Choir,Choral (TTBB) - Level 4 - SKU: A0.1382865 Composed by Matthew Weitzman, Michael Barker, Seth MacFarlane, and Walter Murphy. Arranged by G. M. Morley. 20th Century,A Cappella,Barbershop,Film/TV,Patriotic. 3 pages. G. M. Morley #967292. Published by G. M. Morley (A0.1382865). This is a Barbershop style arrangement of the 30 second theme tune to American Dad - Good Morning U.S.A.Suitable for very high tenors, the first tenor has top b flats while the Bass has bottom F's. I hope you enjoy the arrangement.
$2.50 ≈
2.23€
Danny Elfman: M.I.B. Main Theme - piano solo
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Piano seul
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INTERMÉDIAIRE
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Film/TV
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Danny Elfman
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Virtualsheetmusic
Instantly printable sheet music by Danny Elfman for piano solo of MEDIUM skill level. / film/tv,movies
Instantly printable sheet music by Danny Elfman for piano solo of MEDIUM skill level. / film/tv,movies
$6.97 ≈
6.23€
The Brass Player: Fantasy on Ich bin ein Musikant
The Brass Player: Fantasy on Ich bin ein Musikant
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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F
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The Brass Player: Fantasy on I
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Sweetwater Brass Press
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1303802 Composed by F. Leslie Smith. 21st Century,Chamber,Children,Historic,Multicultural,W...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1303802 Composed by F. Leslie Smith. 21st Century,Chamber,Children,Historic,Multicultural,World. 77 pages. Sweetwater Brass Press #893335. Published by Sweetwater Brass Press (A0.1303802).     A song learned in primary school years and years ago had words something along the lines of the following:         Oh! I’m a young musician,         From distant lands I come.         Singing and playing,         Ever I’m straying.    Also known as “I Am a Fine Musician,†“I Am a Gay Musician†and perhaps other titles, that song is still around and has evolved into many different versions. The original was probably a German folk song from the early 1800s. As published in an 1889 collection of children’s songs, it bears the title, “Ich bin ein Musikant.â€Â That translates as “I am a musician.â€Â In the lyrics the musician claims to be “from Schwabenland†(Swabia) and to play geige (violin: “Dide schum schum schumâ€), flöte (flute: “Päde wäpp päpp päppâ€) and basse (bass: “Dide schum schum schump, päde wäpp päpp päpp). Later versions list the instruments played by the musician as bassoon, bells, clarinet, drum, guitar, piano, piccolo, triangle, trombone, trumpet, tuba, tympani, viola and just about every instrument and noisemaker you can think of.     Anyway, that’s the tune on which “The Brass Player†was built. But here, the musician is concerned only with brass. Which brass? Well, possibly trumpet. Or maybe horn in F. Or trombone. Or tuba. Or perhaps all four; certainly, all are featured in this piece.    “The Brass Player†comprises four sections. The first is in the key of C major and is played at a moderate 2/4 tempo. After a brief Trumpet/Tuba ostinato, Trombone introduces the main theme. Other instruments join in and play around with a variation or two.     The second section is a sweet, nostalgic rendition in 4/4 carried mainly by Horn in F, with help from Trumpets and Trombone.     In section three, the mood changes radically. Time signature goes to 3/4; tempo speeds up to vivace and the key changes to B Minor. All five instruments participate, and some odd things take place rhythmically at I through K (measures 200 through 262), but Tuba seems to carry the melody most of the time.    Section four, in G Major, clips along at a fast 4/4 time. It returns to the main theme and (as in “Ich bin ein Musikant†and its multitudinous derivations) presents in call-and-response form. The first few measures are straight, but discord quickly creeps in. The melody begins to include smears, flutter tonguing and off-beat rhythmic figures. There is even a brief section in G Minor. Gradually, order and theme are restored and the piece ends in a glorious, upbeat statement.    This piece, completed in 2023, consists of 398 measures, a little over nine minutes in length. There are four changes of key and four changes of time signature. Trumpet 1’s highest note is A above its staff; Trombone’s is F above the staff. Trumpet 2 has a few G-below-its-staff notes.    The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. Contact him at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
$6.99 ≈
6.24€
Sonatina for Flute and Piano
Sonatina for Flute and Piano
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James Albert Yeager
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Sonatina for Flute and Piano
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James A. Yeager
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SheetMusicPlus
Piano,Soprano Flute - Level 4 - SKU: A0.1499262 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. Score and part. 43 pages. James A. Y...
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Piano,Soprano Flute - Level 4 - SKU: A0.1499262 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. Score and part. 43 pages. James A. Yeager #1075315. Published by James A. Yeager (A0.1499262). Foreword:Each movement revisits classic paradigms— (I & II) ternary song form,(III) theme & variations. The third movement treats the two themes as children at play with games such as tag and hide-and-seek as variations. Both themes become partner songs leading to fugue, which is, after all, the ultimate musical game.Performance Notes:I Moderato, slurs in the flute suggest phrasing but are optional in terms of breathing. The B section at letter C has a canon between flute and piano (left-hand) which suggests imitation in articulations and dynamics. The climax just before letter D can be stretched slightly more than poco rit. implies. II Slowly gently, must not be played slower than indicated. The middle section at letter B begins with a subito forte. At 3 measures before letter C the fermatas allow a certain freedom. When the flute releases the piano can continue the left-hand chord. The piano should use una corda in the bridge at letter C. Elsewhere, the piano may also employ una corda in quiet places ad libitum. At final note the flute can fade to nothing if breath runs out and just remain in pose as the final note of the piano is allowed to vanish.III Majestic with vigour, two given themes from ca. 1934 are Old Abram Brown by Benjamin Britten and Kookabura Sits on the Old Gum Tree by Marion Sinclair and both are rounds for children. The flute boldly declares theme one at the outset. The piano arpeggiations begin sonorously and quiet before letter A. In Variation 1 the piano must begin softer than the low register flute. The piano left-hand upper notes [A, then G, then D-A fifth) may require use of the sostenuto pedal. Variation 2 is a caccia or chase. Variation 3 is a barcarolle where theme 1 is hiding in the flute part. Variation 4 introduces the second theme (flute) in partnership with theme 1 (piano). Four measures before letter I the piano makes an ogre of theme 2 and should be humorously ponderous. The fugue subject might be the teacher who brings everyone into the final partner song of themes. The piece finishes as it began except for a wistful ending.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). While in Colorado he composed two film scores for student filmmakers as well as choral and organ compositions. He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. He led choirs of all ages from children through the elderly. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano(2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$30.00 ≈
26.80€
Count On Me
Count On Me
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Violon
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INTERMÉDIAIRE
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Soul/R&B
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Bruno Mars
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Sherry Lewis
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Count On Me
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Sherry Lewis Publishing
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SheetMusicPlus
Violin Solo - Level 3 - SKU: A0.521323 By Bruno Mars. By Ari Levine, Bruno Mars, and Philip Lawrence. Arranged by Sherry Lewis. Hip-Hop,Pop,R & B. 5 pag...
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Violin Solo - Level 3 - SKU: A0.521323 By Bruno Mars. By Ari Levine, Bruno Mars, and Philip Lawrence. Arranged by Sherry Lewis. Hip-Hop,Pop,R & B. 5 pages. Sherry Lewis Publishing #4847575. Published by Sherry Lewis Publishing (A0.521323). COUNT ON ME, Bruno Mars, Violin Solo, Intermediate Levelpart: 2 pages time: 3' 52 DEMO NOTE: I began the demo at the main theme as the intro is rather long but is included in the arrangement. MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles. Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$6.99 ≈
6.24€
Solfeggietto
Solfeggietto
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2 Guitares (duo)
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AVANCÉ
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Classique
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Carl Philipp Emanuel Bach
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Justin M
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Solfeggietto
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Justin M. Ryan
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet - Level 5 - SKU: A0.886889 Composed by Carl Philipp Emanuel Bach. Arranged by Justin M. Ryan. Baroque,Contemp...
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Instrumental Duet Guitar,Instrumental Duet - Level 5 - SKU: A0.886889 Composed by Carl Philipp Emanuel Bach. Arranged by Justin M. Ryan. Baroque,Contemporary. Score and parts. 9 pages. Justin M. Ryan #3015271. Published by Justin M. Ryan (A0.886889). Solfeggietto (H 220, Wq. 117: 2) is a short solo keyboard piece in C minor composed in 1766 by Carl Philipp Emanuel Bach. The work is unusual for a keyboard piece in that the main theme and some other passages are fully monophonic, i.e. only one note is played at a time. The piece is commonly assigned to piano students and appears in many anthologies; pedagogically it fosters the playing of an even sixteenth note rhythm by alternating hands. Now in the 21st century, this piece comes alive once again. Arranged for 2 guitars(Drop D Tuning), each guitar is playing the same piece in 2 different keys simultaneously(E Minor and B Minor). Enjoy this wonderful classic.
$2.99 ≈
2.67€
Sonata for Piano Quintet
Sonata for Piano Quintet
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James Albert Yeager
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Sonata for Piano Quintet
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James A. Yeager
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SheetMusicPlus
Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 9...
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Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301). Foreword:Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.Performance Notes:I Moderately fast, expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$40.00 ≈
35.73€
Molto Cantabile from Homage to Bach
Molto Cantabile from Homage to Bach
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Classique
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Johann Sebastian Bach
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Stanley M Hoffman
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Molto Cantabile from Homage to
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stanleymhoffman.com
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SheetMusicPlus
Harpsichord,Instrumental Duet,Oboe - Level 3 - SKU: A0.1283458 Composed by Johann Sebastian Bach. Arranged by Stanley M Hoffman. 21st Century,Baroque,Cl...
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Harpsichord,Instrumental Duet,Oboe - Level 3 - SKU: A0.1283458 Composed by Johann Sebastian Bach. Arranged by Stanley M Hoffman. 21st Century,Baroque,Classical. 5 pages. Stanleymhoffman.com #874642. Published by stanleymhoffman.com (A0.1283458). Variation 6 from Homage to Bach - Version for Oboe I & Harpsichord (Woodwinds Tacet)---See YouTube video for Homage to Bach. https://youtu.be/6StWk5pXVrs7 Variations for Harpsichord and Chamber Orchestraafter Prelude in C Minor (BWV 999) - ca. 12 minutesPrelude (Harpsichord Solo)1. Theme and Variation 1 (Chamber Orchestra)2.  Variation 2 - Maggiore (Harpsichord Solo)3. Variation 3 - Tempestoso (Chamber Orchestra)4. Variation 4 - In 5 (Harpsichord Solo)5. Variation 5 - Waltz - (Tutti)6. Variation 6 - Molto Cantabile (Harpsichord Solo)7. Variation 7 - Tango in which BWV 999 Meets BWV 846, No. 1 - (Tutti)Music by Johann Sebastian Bach (1680–1750)Variations by Stanley M. Hoffman (b. 1959) (BMI)Music by Johann Sebastian Bach: Public Domain. Melody, variations, and engraving: © Copyright 2023 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)com  All rights reserved.The sheet music is available from Stanley M. Hoffman and from Sheet Music Plus.#Bach #JSBach #JohannSebastianBach #homages #music #newmusic #harpsichord #ChamberOrchestra #variations #Baroque #BaroqueMusic.
$2.50 ≈
2.23€
Sonata No. 6 "Kharkiv", Op. 48
Sonata No. 6 "Kharkiv", Op. 48
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Guitare
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AVANCÉ
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Classique
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Konstantin Bliokh
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Sonata No. 6 "Kharkiv", Op. 48
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Production...
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Guitar - Advanced - SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.
$7.95 ≈
7.10€
String Quartet - William and Mary
String Quartet - William and Mary
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Mike Strand, ASCAP <
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Mike Strand
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String Quartet - William and M
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Michael M. Strand
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.970731 Composed by Mike Strand. Contemporary,Jazz,World. Score and parts. 36 pages. Michael M. Strand ...
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String Quartet String Quartet - Level 5 - SKU: A0.970731 Composed by Mike Strand. Contemporary,Jazz,World. Score and parts. 36 pages. Michael M. Strand #4837117. Published by Michael M. Strand (A0.970731). By Mike Strand, ASCAP I wrote this String Quartet in a composition class at the College of William and Mary in 2010. It is brief and rich with variety, and it involves a technique of mine called fracturing (see note* below). This causes the dissonance you'll hear in parts of this work.On one occasion, when I felt stressed, I enjoyed listening to Morton Feldman's String Quartet II (1983), which lasts about 6 hours. This quiet but lovely music soothed and pacified me. On the other hand, if you want something to energize and alert you in less than 11 minutes, this quartet may be for you -- whenever you acquire a recording of it by some lucky quartet ensemble. Have a cup of coffee with it, for insurance!In the meantime, enjoy the audio sample, Movement I of my quartet. This alone may suffice to get you going, in only two and a half minutes. String Quartet - William and Mary: Four movements, total time 10:45: I. Allegro moderato (2:32) A tango-like dance movement: Preface, Introduction, A, B, A’, C, Coda (two variations). II. Lento (2:44) Counting to twenty in 5-4, 4-4, and 12-8 time. 5-4 time predominates (five groups of four measures each), then 4-4 (two groups of five measures each) and 12-8 (one group of five measures). Throughout there are 72 counts per minute, with quarter notes counted in the 5-4 and 4-4 time signatures, and with dotted quarter notes counted in the 12-8 time signature. The five measures of 12-8 also introduce the theme for movement III.Fun with three different time signatures! III. Allegro (2:11) Variations on a Scottish-like folk tune and fragments of it. One variation is an example of tonal pointillism. The closing measures are an extended coda based on a transformed version of the original tune. IV. Swing (3:18) West Coast swing tempo for the Introduction and Part A; triple swing tempo for Part B. Note* on the fracturing technique This is my method to produce systematically new types of dissonance and corresponding modifications and resolutions. Fracturing consists of changing pitches in a melody or chord as follows: (a) Decide on the root note position within the staff or line of music. (b) Represent the applicable chord in half-step notation, with the root given the value 0. (c) Alternatively subtract and add a prescribed number of half steps from, and to, each successive number in the annotated chord (except for the root). (d) Use the new fractured annotation to define the new pitches. The actual or implied root of the chord (tonal center) remains unchanged. The resulting new chord or melody is thus related or resolvable to the parent tonal harmony or chord. Fracturing appears mainly in the first and third movements, with spare use in the second and fourth movements.
$7.00 ≈
6.25€
Killing Me Softly With His Song
Killing Me Softly With His Song
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Ensemble Jazz
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INTERMÉDIAIRE
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Fugees
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John Hoesly
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Killing Me Softly With His Son
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PRS&B
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1453554 By Fugees. By Charles Fox and Norman Gimbel. Arranged by John Hoesly. Jazz,Pop,Rock,Standards. 5...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1453554 By Fugees. By Charles Fox and Norman Gimbel. Arranged by John Hoesly. Jazz,Pop,Rock,Standards. 55 pages. PRS&B #1032778. Published by PRS&B (A0.1453554). KILLING ME SOFTLY WITH HIS SONG- Arrangement for Little Big Band/ Jazz Ensemble. Beautiful soft rock ballad made famous by Roberta Flack. Killing Me Softly with His Song is a soulful and introspective ballad that captivates with its emotional depth and haunting melody. Killing Me Softly with His Song has since been covered by numerous artists, each bringing their own unique interpretation to the timeless classic. Despite the passage of time, the song's universal themes of love, longing, and the power of music to connect us remain as resonant as ever, ensuring its enduring appeal for generations to com Difficulty: Intermediate.Little Big Band- The arrangement is playable with rhythm section (piano/guitar, bass, drums)and 3 to 6 horns. Horns in order of importance: 1st Trumpet (1st Part), Alto Saxophone (2nd Part), Trombone (3rd Part), Tenor Saxophone (4th Part), Baritone Saxophone (5th Part), 2nd Trumpet (6th Part). Includes an optional Vibraphone/Guitar part and alternate parts for the Baritone Saxophone (Trombone), the 2nd Trumpet (Alto Saxophone), and the Trombone (Tenor Saxophone).Also see: You’ve Lost That Lovin’ Feelin’, Stand By Me, Yesterday, All I Have To Do Is Dream, Killing Me Softly With His Song, Ease On Down The Road, Embraceable You, I’m Gonna Sit Right Down…, In The Mood, Jersey Bounce, Oh, Lady Be Good, Memories Of You, My Buckets Got A Hole In It, Ode To Billy Joe, Stride (based on a theme from Rhapsody In Blue), The Summer Knows, They Can’t Take That Away From Me, Where Or When. Arranged by John Hoesly.
$55.00 ≈
49.13€
Suite For Clarinet
Suite For Clarinet
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Clarinette et Piano
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INTERMÉDIAIRE/AVANCÉ
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Caleb M
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Suite For Clarinet
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C.M.Brandon
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SheetMusicPlus
B-Flat Clarinet,Piano - Level 4 - SKU: A0.1225338 Composed by Caleb M. Brandon. 20th Century,Chamber,Classical,Instructional,Traditional. Score and part...
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B-Flat Clarinet,Piano - Level 4 - SKU: A0.1225338 Composed by Caleb M. Brandon. 20th Century,Chamber,Classical,Instructional,Traditional. Score and part. 32 pages. C.M.Brandon #821427. Published by C.M.Brandon (A0.1225338). A three movement suite which highlights the versatility of the clarinet. In the Tradition – An enjoyable piece written in the “textbook†Sonata form. One will be able to find an Introduction, Primary Theme, Transition, Secondary theme, Closing Theme, Development, and the Recapitulation. The classical styling showcases the clarinet’s versatility, range, and colors. In the Tinnabular – This melancholy piece explores the minimalist style of composition invented by Arvo Pärt called tintinnabuli. The two voice types characterized in this method (‘tintinnabular’ arpeggiating voice/the stepwise diatonic voice) are found in the piano while the clarinet adds a melody. Both of these voices expand, note by note, over time. In the Time of Rag – A lively and entertaining piece in the ‘ragtime’ style. Performers are encouraged to improvise, as was customary for these pieces. The drum set is not necessary but does add a great dimension to the music. From my research, I believe the style of drumming needed is “2nd line drummingâ€. The high hat and snare notation is meant to simulate the beats using brushes, rather than sticks, on the snare while maintaining the march rhythms. Washboards, tambourines, and the like could be incorporated at the discretion of the percussionist. Dynamic levels of the drums should not overtake the clarinet and piano but enhance the overall performance.
$2.99 ≈
2.67€
Writing's On The Wall from the film SPECTRE
Writing's On The Wall from the film SPECTRE
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Piano, Voix
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DÉBUTANT
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Pop musique
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Soul/R&B
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Sam Smith
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Leonie Capararo
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Writing's On The Wall from the
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Notewell Music
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SheetMusicPlus
Piano,Vocal,Voice - Level 1 - SKU: A0.892922 By Sam Smith. By James Napier and Sam Smith. Arranged by Leonie Capararo. Pop,R & B. Score. 5 pages. Notewe...
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Piano,Vocal,Voice - Level 1 - SKU: A0.892922 By Sam Smith. By James Napier and Sam Smith. Arranged by Leonie Capararo. Pop,R & B. Score. 5 pages. Notewell Music #5320255. Published by Notewell Music (A0.892922). A simplified piano arranged of this great James Bond theme that still maintains the drama of the original. Full fingering, lyrics and chords included. Perfect for the beginner piano player. Key of E minor. You might be interested in checking out 'Bruises', 'I'm Still Standing', 'Song For Guy, and 'Ob-La-Di'. I am constantly adding new material. Follow me on facebook or email me at notewellmusic.com for suggestions of pieces you would like me to arrange.
$5.00 ≈
4.47€
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M.i.b. Main Theme
