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Partitions à imprimer
162 partitions trouvées
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151
Adventure Time Opening Theme
Adventure Time Opening Theme
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Guitare notes et tablatures
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DÉBUTANT
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Enfant
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Film/TV
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Casey James Basichis, Pendleto
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Andrew Wingert Music
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Adventure Time Opening Theme
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Andrew Wingert Music
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SheetMusicPlus
Easy Guitar (with TAB) - Level 1 - SKU: A0.485279 Composed by Casey James Basichis, Pendleton Ward, and Tim Kiefer. Arranged by Andrew Wingert Music. Ch...
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Easy Guitar (with TAB) - Level 1 - SKU: A0.485279 Composed by Casey James Basichis, Pendleton Ward, and Tim Kiefer. Arranged by Andrew Wingert Music. Children,Film/TV. Tablature. 1 pages. Andrew Wingert Music #104201. Published by Andrew Wingert Music (A0.485279). Adventure Time Opening Theme - everything included! -Play the melody immediately with both tablature or traditional notation. -Lyrics are conveniently placed between the tablature and traditional notation. -All chord diagrams and complete strumming instructions are included.
$4.99 ≈
4.46€
Open Immediately
Open Immediately
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Piano, Guitare (duo)
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INTERMÉDIAIRE
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Ron Patton
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Open Immediately
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Twintastic Music
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SheetMusicPlus
Guitar,Piano - Level 3 - SKU: A0.987343 Composed by Ron Patton. Film/TV,Musical/Show,Pop,Rock. Score and part. 9 pages. Twintastic Music #2965597. Publi...
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Guitar,Piano - Level 3 - SKU: A0.987343 Composed by Ron Patton. Film/TV,Musical/Show,Pop,Rock. Score and part. 9 pages. Twintastic Music #2965597. Published by Twintastic Music (A0.987343). Pop Instrumental soundtrack theme or background music written for piano and guitar with string arrangements added in the audio music clip.
$3.99 ≈
3.56€
Growl
Growl
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Dennis Tobenski
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Growl
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Dennis Tobenski
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1003290 Composed by Dennis Tobenski. 20th Century,Contemporary. Score. 12 pages. Dennis Tobenski #455753. Published by De...
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Piano Solo - Level 4 - SKU: A0.1003290 Composed by Dennis Tobenski. 20th Century,Contemporary. Score. 12 pages. Dennis Tobenski #455753. Published by Dennis Tobenski (A0.1003290). Growl is a short, fast-paced piece for solo piano. The piece is cast in a roughly ABA/fast-slow-fast form, and centers around two musical ideas: a driving left-hand ostinato and a 16-bar melodic line. As the piece opens, the ostinato immediately establishes itself, low and menacing, punctuated by snaps and snarls as it races forward. When we first hear the melodic line, it is soft and distant – almost creepy – and it immediately repeats itself, much louder and more violently. After a brief return to the opening of the piece, we have a moment of respite as the ostinato abruptly drops away, and time stands still for a moment before giving way to a peaceful, ethereal version of the melody. But peace doesn’t last long as the melody becomes increasingly dissonant and violent, culminating in a brutal, crashing cacophony that surges into a triumphal climax. As the grand chords ebb away, the ostinato begins to quietly re-insinuate itself back into the fabric of the piece, building slowly to a return to the opening material and a screaming version of the melodic line. Suddenly, the triumphal chords come thundering back, warring with the ostinato – each interrupting the other, clashing to a frenzied, crashing end. Duration: ca. 5 min. Composed: 2011 Registered with ASCAP. Please email dennis@dennistobenski.com so that your performance of Growl can be added to Dennis' website calendar. Email: dennis@dennistobenski.com Website: dennistobenski.com Facebook: facebook.com/dennistobenski Twitter: @dennistobenski Tumblr: A Commonplace Blog Soundcloud: soundcloud.com/dennistobenski
$4.99 ≈
4.46€
Four Preludes
Four Preludes
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
#
Contemporain
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Michael Maw
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Four Preludes
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Michael Maw
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1269692 Composed by Michael Maw. 20th Century,Classical. Score. 14 pages. Michael Maw #862201. Published by Michael Maw (...
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Piano Solo - Level 4 - SKU: A0.1269692 Composed by Michael Maw. 20th Century,Classical. Score. 14 pages. Michael Maw #862201. Published by Michael Maw (A0.1269692). Composed at the age of 18, this set of four preludes for piano is dedicated to the Russian composer Dmitri Shostakovich. Opening with a march-like motif, the music shifts drastically between piercing screams of sound and quiet melancholy – reflecting Shostakovich’s tumultuous life under the dictatorship of Joseph Stalin. The second prelude opens with youthful energy which then descends into a mysterious ostinato. This builds into a thundering finish where the music shatters into a myriad of echoing fragments. Prelude No. 3 opens with calmness and serenity. The simple repeating motif grows into an agonizing climax, immediately followed by Shostakovich’s signature phrase: DSCH (D Eb C B). This causes a return back to the same peaceful opening – as if reflecting back on the past. The final prelude is a mix of incredible energy and jest, rounding out the set with a boisterous ending. Skill level: Advanced Intermediate. 14 pages.
$6.99 ≈
6.24€
O. H. B. (Brass band)
O. H. B. (Brass band)
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Mike Lyons
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O. H. B.
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Lyons Music Services
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.767079 Composed by Mike Lyons. 20th Century,Standards. Brass Band. 81 pages. Lyons Music Services #519501. Published by Lyons Music Services (A0.767079). An original concert march written for and dedicated to my very good friends at Old Hall Brass. It has a traditional march format after an optional fun opening. The first section is a bit like an orchestra tuning up. The band should walk on at different times and start tuning up while the percussion make noises. The MD should walk on briskly after everyone else and bring his hands up at which point the band should immediately stop what they are doing and get ready to play on the downbeat. From then on it is straightforward. It can be used to open either half of a concert and the messing about can be missed out altogether.
$25.00 ≈
22.33€
Germaine Tailleferre: Trois Études for two pianos
Germaine Tailleferre: Trois Études for two pianos
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2 Pianos, 4 mains
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AVANCÉ
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achieving the physical decline
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Germaine Tailleferre
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Germaine Tailleferre: Trois &E
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. ...
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Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.
$32.95 ≈
29.44€
Elegy Sentimentale for Concert Band
Elegy Sentimentale for Concert Band
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Orchestre d'harmonie
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Keith Terrett
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Elegy Sentimentale for Concert
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Keith Terrett
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SheetMusicPlus
Concert Band - SKU: A0.746749 Composed by Keith Terrett. Contemporary,World. 39 pages. Keith Terrett #3129275. Published by Keith Terrett (A0.746749).
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Concert Band - SKU: A0.746749 Composed by Keith Terrett. Contemporary,World. 39 pages. Keith Terrett #3129275. Published by Keith Terrett (A0.746749). Here at last is my ’’Elegy sentimentale’’ for Concert Band, and an original composition.I hope it makes an excellent piece for amateur and professional bands alike; with some challenging and interesting woodwind and brass writing for all.I envisage the ’’Elegy’’ eventually making a good piece of film music, and in consequence any directors or producers looking for a movie theme; please feel free to contact me!Elegy Sentimenatle is a mournful & melancholic work, suited for performances on the concert platform.A Supreme Work of Art!The Elegy Sentimentale opens impressively. Keith Terrett plants a C deep in virgin soil; orchestrated brilliantly for bassoon, harp and delineated by pizzicato double basses this bass line is a tree of a forest; and we are at once held by the strength of the roots. The tonality is immediately clear, and there is a grand feeling of space and power in the wide layout of the score. A lone solo clarinet high in the tessitura accompanied by a solo cello with a counter subject state the opening eight bar theme which embodies the seeds of two ideas, which supplies the generating force for the slightly agitated Piu Mosso which follows. The counter subject given by the solo cello at the beginning is now reiterated by the plaintive voice of a solo oboe and a third motif makes an appearance in the solo clarinet; oboe and clarinet duet beautifully over arpeggiated rhythmic impulses in the harp. A new subject of an accompanying nature, derived from all the material thus far presented now comes off at a tangent on the strings cascading downwards and accompanying woodwind who, play the chief melodic subject while horns cry in anguish. This first section is then repeated; I found the whole experience spiritual, detached and wondering, intensified by the breath-taking stillness. Mr Terrett in the middle section that follows now uses his full orchestral forces; after a key change the emotional charge that follows is cataclysmic in its cry of anguish; the main theme is stated in a full dress orchestral tutti, which is then repeated. The music ebbs and flows with slight variations in the woodwind recalling the main ideas; at the very end high strings bring consolation and finally peace. Keith Terrett shows an admirable command of orchestration and melodic construction and combines these qualities with rare imagination and insight.Gerald Manning
$30.00 ≈
26.80€
Elegy Sentimentale for Orchestra
Elegy Sentimentale for Orchestra
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Orchestre
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Keith Terrett
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Elegy Sentimentale for Orchest
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Keith Terrett
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SheetMusicPlus
Full Orchestra - SKU: A0.746748 Composed by Keith Terrett. Contemporary,World. 33 pages. Keith Terrett #3129265. Published by Keith Terrett (A0.746748)....
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Full Orchestra - SKU: A0.746748 Composed by Keith Terrett. Contemporary,World. 33 pages. Keith Terrett #3129265. Published by Keith Terrett (A0.746748). ere at last is my ’’Elegy sentimentale’’ for orchestra, and my first original composition (opus 1), for full symphony orchestra.I hope it makes an excellent piece for amateur and professional orchestras alike; with some challenging and interesting string, woodwind and brass writing for all.I envisage the ’’Elegy’’ eventually making a good piece of film music, and in consequence any directors or producers looking for a movie theme; please feel free to contact me!Elegy Sentimenatle is a mournful & melancholic work, suited for performances on the concert platform.A Supreme Work of Art!The Elegy Sentimentale opens impressively. Keith Terrett plants a C deep in virgin soil; orchestrated brilliantly for bassoon, harp and delineated by pizzicato double basses this bass line is a tree of a forest; and we are at once held by the strength of the roots. The tonality is immediately clear, and there is a grand feeling of space and power in the wide layout of the score. A lone solo clarinet high in the tessitura accompanied by a solo cello with a counter subject state the opening eight bar theme which embodies the seeds of two ideas, which supplies the generating force for the slightly agitated Piu Mosso which follows. The counter subject given by the solo cello at the beginning is now reiterated by the plaintive voice of a solo oboe and a third motif makes an appearance in the solo clarinet; oboe and clarinet duet beautifully over arpeggiated rhythmic impulses in the harp. A new subject of an accompanying nature, derived from all the material thus far presented now comes off at a tangent on the strings cascading downwards and accompanying woodwind who, play the chief melodic subject while horns cry in anguish. This first section is then repeated; I found the whole experience spiritual, detached and wondering, intensified by the breath-taking stillness. Mr Terrett in the middle section that follows now uses his full orchestral forces; after a key change the emotional charge that follows is cataclysmic in its cry of anguish; the main theme is stated in a full dress orchestral tutti, which is then repeated. The music ebbs and flows with slight variations in the woodwind recalling the main ideas; at the very end high strings bring consolation and finally peace. Keith Terrett shows an admirable command of orchestration and melodic construction and combines these qualities with rare imagination and insight.Gerald Manning
$30.00 ≈
26.80€
Mission: Impossible Theme from the Paramount Television Series MISSION: IMPOSSIBLE
Mission: Impossible Theme from the Paramount Television Series MISSION: IMPOSSIBLE
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Film/TV
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Adam Clayton And Larry Mullen
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Austin Ralphson
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Mission: Impossible Theme from
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Austin Ralphson
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.563218 By Adam Clayton And Larry Mullen. By Lalo Schifrin. Arranged by Austin Ralphson. Fi...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.563218 By Adam Clayton And Larry Mullen. By Lalo Schifrin. Arranged by Austin Ralphson. Film/TV. Score and parts. 17 pages. Austin Ralphson #3483431. Published by Austin Ralphson (A0.563218). A hallmark of this American TV series is each episode's opening scene, in which Briggs or Phelps receives his instructions from a faceless voice, delivered on a recording which then self-destructs; this is immediately followed by the theme music, composed by Lalo Schifrin. This music is presented here in an exciting arrangement for brass ensemble; it works as a great opener to a concert.
$12.99 ≈
11.60€
Mission: Impossible Theme from the Paramount Television Series MISSION: IMPOSSIBLE
Mission: Impossible Theme from the Paramount Television Series MISSION: IMPOSSIBLE
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Film/TV
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Adam Clayton And Larry Mullen
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Austin Ralphson
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Mission: Impossible Theme from
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Austin Ralphson
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SheetMusicPlus
Brass Ensemble Horn - Level 4 - SKU: A0.563224 By Adam Clayton And Larry Mullen. By Lalo Schifrin. Arranged by Austin Ralphson. Film/TV. Score and parts...
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Brass Ensemble Horn - Level 4 - SKU: A0.563224 By Adam Clayton And Larry Mullen. By Lalo Schifrin. Arranged by Austin Ralphson. Film/TV. Score and parts. 13 pages. Austin Ralphson #3485967. Published by Austin Ralphson (A0.563224). A hallmark of this American TV series is each episode's opening scene, in which Briggs or Phelps receives his instructions from a faceless voice, delivered on a recording which then self-destructs; this is immediately followed by the theme music, composed by Lalo Schifrin. This music is presented here in an exciting arrangement for horn quartet with optional drum kit; it works as a great opener to a concert.
$12.99 ≈
11.60€
Allegretto from Sinfonietta (British TV Theme from Crown Court)
Allegretto from Sinfonietta (British TV Theme from Crown Court)
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Leos Janacek
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Lawrence Killian
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Allegretto from Sinfonietta
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Lawrence Killian
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1313469 Composed by Leos Janacek. Arranged by Lawrence Killian. 20th Century,Classical,Film/TV,Patriotic. 69 pages. Law...
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Concert Band - Level 3 - SKU: A0.1313469 Composed by Leos Janacek. Arranged by Lawrence Killian. 20th Century,Classical,Film/TV,Patriotic. 69 pages. Lawrence Killian #902226. Published by Lawrence Killian (A0.1313469). A superb opener for your Wind Band concert featuring the trumpet section. The immediately arresting theme grabs the listener's attention, announcing brilliant things to come. The music drives forward, involving every section of the band. This music sounds impressive and makes the band sound professional without being too difficult. The opening trumpet theme was used for the Granada TV Series 'Crown Court' broadcast in the UK during the 1980s.
$15.00 ≈
13.40€
Glacier Bay - String Trio (vn-vn-vc)
Glacier Bay - String Trio (vn-vn-vc)
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE
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Contemporain
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Arthur Breur
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Glacier Bay - String Trio
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Floating Home Music
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SheetMusicPlus
String Ensemble,String Trio - Level 3 - SKU: A0.913984 Composed by Arthur Breur. 20th Century,Contemporary. Score and parts. 15 pages. Floating Home Mus...
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String Ensemble,String Trio - Level 3 - SKU: A0.913984 Composed by Arthur Breur. 20th Century,Contemporary. Score and parts. 15 pages. Floating Home Music #4819957. Published by Floating Home Music (A0.913984). Glacier Bay for String Trio. An audio impression of the experience of being in Glacier Bay. This is the premier performance of Glacier Bay by String Trio Black Diamonds - just one day after Arthur Breur composed the piece and provided the trio with the score and parts. They performed the piece in the atrium of the Norwegian Sun on July 3, 2016. With gratitude to Captain Richard Svardmark and the entire crew of the Norwegian Sun. Arthur Breur composed Glacier Bay in a single day on the Cruise Ship Norwegian Sun as it toured Glacier Bay, Alaska. Waking very early that day, Arthur was greeted with foggy, gray, mysterious views in an eerie northern twilight, and the mood set him immediately to composing. As he often does, he started by constructing the ten letters of the name Glacier Bay into musical notes. He divided these ten notes into three similar musical motifs, first three notes [G-E-A], then four notes [C-B-E-D], then three notes again [B-A-D]. These motifs open the piece, in a section that represents the eerie, misty, wet, half-lit morning. Then-expressing wonder and excitement upon seeing the beauty and majesty of Alaska’s glaciers-the motifs are connected with moving lines of notes that turn the original disconnected motifs into a flowing, uplifting melody. Between stops at the enormous bay’s different glaciers, the ship moved slowly through foggy vistas. The middle section of the piece represents this with a more dissonant, nervous sound. (Listen carefully for the sound of the ship’s fog horn-which really is a low F-sharp!-played by the cello.) But after passing through the fog, there was another awe-inspiring glacier, and so the music returns to the uplifting, flowing melody once again. Glacier Bay for String Trio Composed for the String Trio Black Diamonds: - Tamara Sieviieva - Mykyta Denysov - Anastasia Gorokhova *** Upon waking to a mysterious foggy morning on the Norwegian Sun cruise ship in Glacier Bay, Alaska, I was almost immediately possessed by my Muse. (That’s the only way I can describe it; every moment that I was not composing-even WHILE looking at the beautiful, awe-inspiring glaciers! - I was hearing the melody in my head and aching to compose.) *** Duration: 5m Composer: Arthur Breur Instruments: Violin, Cello, String Trio, String Trio (vn-vn-vc) Format: Score, Set of Parts Genres: 21st Century, Contemporary Classical, Post-Romantic, Neo-Classical Level: Intermediate https://www.floatinghomemusic.com
$20.00 ≈
17.87€
BEHOLD HE IS COMING (SATB) – Revelation 1:7
BEHOLD HE IS COMING (SATB) – Revelation 1:7
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Chorale SATB
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INTERMÉDIAIRE
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Michael A
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BEHOLD HE IS COMING
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926664 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 8 pages. M.A. Morizio #3588427. Publ...
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Choral Choir (SATB) - Level 3 - SKU: A0.926664 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 8 pages. M.A. Morizio #3588427. Published by M.A. Morizio (A0.926664). The Apostle John’s visions in Revelation are nothing less than astounding to all readers. However, little is it known that another Hymn to Christ is neatly tucked into the very first seven verses of this last book of the Bible. John begins his Revelation (verses 1-3) with a prelude, introducing Jesus Christ and the apocalypse (revelation) that was made to him via the angel sent to describe all the things about which he was to write. He says, Blessed is the one who reads aloud the words of this prophecy, and blessed are those who hear, and keep what is written in it, for the time is near. After this short prelude, John delivers an epistolary opening (a greeting identifying the author and recipients), then pronounces a blessing upon the recipients-verses 4-6. After both the prelude and the opening, John immediately proceeds to another known Hymn to Christ, in verse 7, which I have called, Behold He Is Coming. When presented with the text in Revelation 1:7, I immediately thought, Where is the Gospel, the good news, in this piece? After several minutes of meditating on the text, I realized the Gospel message was right there in front of me-in the very last line: Yes, so be it [Lord], so be it, [Amen!] There will be peace! All will be known. Every single person will understand, at that point. The end, is the ushering in of a new beginning. The piece is scored in G minor for SATB with flute and Bâ™ clarinet accompaniment. In the opening phrase, we hear the clarinet on a sustained high (concert) G, which crescendos into a quick, descending sixteenth note pattern. There is urgency! The flute joins the clarinet in a duet to complete the introduction to the anthem. Then, the choir begins their haunting chant, Behold, He is coming with the clouds. Every eye will see Him, even those who pierced Him. Every eye will see Him and all the tribes of the earth will mourn over Him . Alas, there is peace! The two instruments dissolve into an a cappella four-part chorale where the choir creates the agreement between the text and the music, modulating to the relative major (Bâ™)-all is reconciled in a final Amen!
$1.99 ≈
1.78€
The Unquiet Grave from American Death Ballads (Downloadable)
The Unquiet Grave from American Death Ballads (Downloadable)
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Voix haute
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David Conte
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The Unquiet Grave from America
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer M...
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High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50 ≈
3.13€
Rhythms of the Spirit
Rhythms of the Spirit
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Orchestre d'harmonie
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Contemporain
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James M
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Rhythms of the Spirit
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Jim Stephenson Music, Inc.
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SheetMusicPlus
Concert Band - SKU: A0.1030888 Composed by James M. Stephenson. Contemporary. Score and parts. 154 pages. Jim Stephenson Music, Inc. #48491. Published b...
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Concert Band - SKU: A0.1030888 Composed by James M. Stephenson. Contemporary. Score and parts. 154 pages. Jim Stephenson Music, Inc. #48491. Published by Jim Stephenson Music, Inc. (A0.1030888). Written by internationally renowned, Chicago-based composer, James M. Stephenson stephensonmusic.com Jim@Stephensonmusic.com Product info: http://stephensonmusic.com/product/rhythms-of-the-spirit Facebook: https://www.facebook.com/jim.stephenson.946 Twitter: https://twitter.com/ComposerJim YouTube: https://www.youtube.com/user/JimmyThird/featured Duration: 9' Commissioned by and dedicated to the Grand Symphonc Winds; Matthew George, Music Director. Premiered May 2, 2013. Notes about the Music: In the spring of 2012, I was in Minnesota attending some performances, and had the fortunate opportunity of catching up with Matthew George, conductor of the Grand Symphonic Winds. Matt had given the world premiere performance of my Concerto for Brass Quintet (Dodecafecta), and has always had a major presence in the formation of new works for winds, so I was very delighted when he brought up the idea of a new work for his group. The Grand Symphonic Winds, in honor of their 25th anniversary, were looking to celebrate the influx of many international cultures which had become a significant part of the landscape in Minnesota. This immediately called out to me in musical terms, namely in the forms of rhythms and spirituality (hence the title!) The piece opens and closes with heroic and beautiful music, signifying (to me) what most cultures seem to all be saying, but in different languages: we all just want peace, harmony and love. The entire middle section is very rhythmic, using many percussion instruments found in different cultures, also represented in Minnesota: Latin America (claves, bongos), Africa (Djembe) and if possible, Southeast Asia (Dholak). And just for fun, I even spelled out Minnesota in Morse code, but this was merely for my own enjoyment! I wish to thank Matt George, for all he has done for the field of music in Wind Ensembles, and specifically to him and the Grand Symphonic Winds for entrusting to me the responsibility of composing this new work, which I truly hope finds its home in the literature. Jim Stephenson March, 2013 Instrumentation: Wind Ensemble – one per part, except: 2 tubas recommended, French Horns doubled Recommended: Rhythm percussion sit in the middle of the ensemble, or immediately in front of the conductor, where visible to audience. Percussion instruments needed: Snare Drum, Bass Drum, Cymb. a2 Claves, Djembe, Marimba, Triangle, Vibes, Bongos (or Dholak) Xylophone, Glock., Tambourine, Sus. Cymb. (if desired, the Dholak could replace the Bongos, using high/low sounds).
$140.00 ≈
125.07€
The Escape (medium/big percussion ensemble)
The Escape (medium/big percussion ensemble)
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Ensemble de Percussions
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INTERMÉDIAIRE/AVANCÉ
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Film/TV
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Frits Renting
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The Escape
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Frits_Renting
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SheetMusicPlus
Percussion Ensemble Bass Marimba,Chimes,Cymbals,Drum Set,Low Drum,Quad Toms,Shaker,Suspended Cymbal,Tam Tam,Tambourine,Timpani,Tom Tom,Tubular Bells,Vibraphone,...
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Percussion Ensemble Bass Marimba,Chimes,Cymbals,Drum Set,Low Drum,Quad Toms,Shaker,Suspended Cymbal,Tam Tam,Tambourine,Timpani,Tom Tom,Tubular Bells,Vibraphone,Xylophone - Level 4 - SKU: A0.1274188 Composed by Frits Renting. Film/TV. 51 pages. Frits_Renting #866319. Published by Frits_Renting (A0.1274188). Side note: This version is for medium/big percussion ensemblesEN:This composition was written for one of the parts of the D exam by Frits Renting. The starting point of the composition was: film music. Inspired by well-known works by Hans Zimmer, Brian Tyler, John Williams and works by De Efteling. The composition starts in a fairly small composition in which, with the help of crescendos and several instruments, it works towards a strong, but above all open and cheerful part. This is followed by a short untuned percussion solo. After this, theme A is closed in a calm, non-violent manner. Immediately theme B comes in which is built up through crescendos and multiple instruments over time. Theme B also comes to a quiet end afterwards. After this theme A and B return at the same time, which builds up and closes in a grandiose way.NL:Deze compositie is geschreven voor één van de onderdelen van het D examen van Frits Renting. Het uitgangsdoel van de compositie was: filmmuziek. Geïnspireerd door bekende werken van Hans Zimmer, Brian Tyler, John Williams en werken van De Efteling. De compositie begint in een vrij kleine samenstelling waarbij, met behulp van crescendo's en meerdere instrumenten, het zich toewerkt naar een sterk, maar vooral open en vrolijk gedeelte. Dit wordt opgevolgd door een korte ongestemde slagwerk solo. Hierna wordt thema A op een rustige, geweldloze manier afgesloten. Direct komt thema B binnenvallen wat word opgebouwd door middel van crescendo's en meerdere instrumenten in loop van de tijd. Ook komt thema B daarna tot rustig einde. Hierna komen thema A en B tegelijkertijd terug wat zich opbouwt en op een grandioze manier, zich afsluit.
$80.00 ≈
71.47€
The Escape - (small/medium percussion ensemble)
The Escape - (small/medium percussion ensemble)
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Film/TV
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Frits Renting
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Frits Renting
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The Escape -
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Frits_Renting
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SheetMusicPlus
Percussion Ensemble Bass Marimba,Chimes,Cymbals,Drum Set,Drums,Shaker,Suspended Cymbal,Tam Tam,Tambourine,Timpani,Tom Tom,Tubular Bells,Vibraphone,Xylophone - L...
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Percussion Ensemble Bass Marimba,Chimes,Cymbals,Drum Set,Drums,Shaker,Suspended Cymbal,Tam Tam,Tambourine,Timpani,Tom Tom,Tubular Bells,Vibraphone,Xylophone - Level 4 - SKU: A0.1288799 Composed by Frits Renting. Arranged by Frits Renting. Film/TV. 35 pages. Frits_Renting #879651. Published by Frits_Renting (A0.1288799). Side note: This version is for small/medium percussion ensemblesEN:This composition was written for one of the parts of the D exam by Frits Renting. The starting point of the composition was: film music. Inspired by well-known works by Hans Zimmer, Brian Tyler, John Williams and works by De Efteling. The composition starts in a fairly small composition in which, with the help of crescendos and several instruments, it works towards a strong, but above all open and cheerful part. This is followed by a short untuned percussion solo. After this, theme A is closed in a calm, non-violent manner. Immediately theme B comes in which is built up through crescendos and multiple instruments over time. Theme B also comes to a quiet end afterwards. After this theme A and B return at the same time, which builds up and closes in a grandiose way.NL:Deze compositie is geschreven voor één van de onderdelen van het D examen van Frits Renting. Het uitgangsdoel van de compositie was: filmmuziek. Geïnspireerd door bekende werken van Hans Zimmer, Brian Tyler, John Williams en werken van De Efteling. De compositie begint in een vrij kleine samenstelling waarbij, met behulp van crescendo's en meerdere instrumenten, het zich toewerkt naar een sterk, maar vooral open en vrolijk gedeelte. Dit wordt opgevolgd door een korte ongestemde slagwerk solo. Hierna wordt thema A op een rustige, geweldloze manier afgesloten. Direct komt thema B binnenvallen wat word opgebouwd door middel van crescendo's en meerdere instrumenten in loop van de tijd. Ook komt thema B daarna tot rustig einde. Hierna komen thema A en B tegelijkertijd terug wat zich opbouwt en op een grandioze manier, zich afsluit.
$70.00 ≈
62.53€
A Repton Fugue
A Repton Fugue
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Philip Le Bas
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Philip Le Bas
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A Repton Fugue
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Philip Le Bas
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.1463474 By Philip Le Bas. By Philip Le Bas. Arranged by Philip L...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.1463474 By Philip Le Bas. By Philip Le Bas. Arranged by Philip Le Bas. Chamber,Classical. 21 pages. Philip Le Bas #1042196. Published by Philip Le Bas (A0.1463474). A short, attractive fugue for wind quintet (flute, oboe, clarinet, horn and bassoon) by Philip Le Bas, inspired by and based on Hubert Parry's much-loved hymn Dear Lord and Father, whose melody is entitled Repton. The fugue's structure results from a fascinating online Fugue Writing course run by CityLit, London, which the composer attended in the first half of 2024. The course presents and explains the eighteenth-century ideas of a fully developed fugue, which culminated in J.S. Bach's extraordinary achievement, the Well Tempered Clavier, and which has been used in various forms by composers ever since. The fugal rules are here treated rather as guidelines in order to create a fugue more immediately appealing to 21st century listeners, but the piece attempts to maintain the general structure found in classic fugues. The initial subject is quirky and tuneful (in fact a bit of an ear-worm), but it immediately goes on to include counter-subjects, tonal answers, codettas, episodes, middle entries, inverted subjects, strettos, a pedal and a final entry, plus a relatively long coda in which Parry's original melody is celebrated exuberantly. These different sections and techniques are all labeled in the score to add an educational dimension to the composition. Those who know the composer's Repton Variations for wind sextet will recognise the opening and ending, at least in outline, but they will soon find the rest to be more technically developed, if rather less serious, from the very beginning! The piece lasts just under three minutes.
$5.99 ≈
5.35€
A Prayer for the New Year - an original hymn
A Prayer for the New Year - an original hymn
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin G
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A Prayer for the New Year - an
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.701772 Composed by Kevin G. Pace, Kathryn W. Hales. Christian,Holiday,Praise & Worship,Sacred. Octavo. 2 pages. ...
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Choral Choir (SATB) - Level 4 - SKU: A0.701772 Composed by Kevin G. Pace, Kathryn W. Hales. Christian,Holiday,Praise & Worship,Sacred. Octavo. 2 pages. Kevin G. Pace #3421697. Published by Kevin G. Pace (A0.701772). An original hymn with text by Kathryn Hales below.YouTube video: https://youtu.be/WhyM9qYVClI 'Twas the night before New Year’s and all through the towns, People were cheering, jumping up and down; They stood in anticipation to watch a ball drop, Or exclaimed in amazement as fireworks popped. What happens next, as a new year begins? Will people be more loving? Repent of their sins? A blank calendar now opens__months, weeks and days__ Will we draw closer to Jesus and follow His ways? That’s the way to make this a truly Happy New Year, So may we all resolve to fill it with good cheer, And all anger and fighting immediately cease, That at last we’ll have a time of good will and peace.
$1.99 ≈
1.78€
Durham Concerto
Durham Concerto
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Jon Lord
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Durham Concerto
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Schott Music - Digital
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SheetMusicPlus
Violin, cello, Northumbrian pipes, Hammond-organ and orchestra - SKU: S9.Q52424 For violin, cello, Northumbrian pipes, hammond organ and orchestra
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Violin, cello, Northumbrian pipes, Hammond-organ and orchestra - SKU: S9.Q52424 For violin, cello, Northumbrian pipes, hammond organ and orchestra. Composed by Jon Lord. This edition: study score. Evening - architecture - dawn - architecture - cathedral - bagpipes - Durham - England - Great Britain - cathedral - Church - concerto - morning - afternoon - nocturne - Northumbrian pipes - program music - program music - students - Studies - Studies. Music Of Our Time. Downloadable, Study score. Duration 57' 0. Schott Music - Digital #Q52424. Published by Schott Music - Digital (S9.Q52424). The general inspiration for the music was an idea of Durham, garnered from two or three short visits and a reading of a short history – so a sort of “Durham of the mindâ€, a stylized Durham; ‘my’ Durham, if you will, imagined into music. However, the defining inspiration for the piece was the Cathedral. My first visit to Durham in 2001 saw me standing open-mouthed on Palace Green, and then in silent awe as I walked into that formidable magnificence inside. Most of the themes came from the days immediately following my first experience of this extraordinary, inspiring building. The feeling that the very stones and pillars themselves are imbued with centuries of prayer, with people’s joy, grief, despair, even anger; gratitude and hope. As the tunes and chords and sounds started to organize themselves in my mind and onto manuscript paper, I realized that I was writing a sort of “day in the life of Durhamâ€, and that the Cathedral would be its beginning, would be in its middle, and would be at its ending. The piece consists of six ‘pictures’ arranged into three parts – the morning, afternoon and evening of this imaginary Durham city. Jon Lord, 20173 (3. auch Picc.) · 2 · Engl. Hr. · Es-Klar. · 2 · Bassklar. · 2 · Kfg. - 4 · 3 (1. auch Flhr. ad lib., 3. auch Piccolotr.) · 3 · 1 - P. S. (Glsp. · Xyl. · Marimb. · Röhrengl. · Trgl. · Schlittengl. · häng. Beck. · Beckenpaar · Tamt. · Schellentr. · Tomt. · kl. Tr. · gr. Tr. · Woodbl.) (5 Spieler) - Cel. · Hfe. (ad lib.2) - Str. (16 · 14 · 12 · 10 · 8 - Minimum: 14 · 12 · 10 · 8 · 6).
$46.99 ≈
41.98€
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00 ≈
6.25€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00 ≈
6.25€
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
6.25€
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00 ≈
6.25€
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