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Reasons To Quit
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Vous avez sélectionné:
Reasons To Quit
Partitions à imprimer
38 partitions trouvées
<
1
26
Reasons To Quit
Reasons To Quit
#
Piano Facile
#
Merle Haggard
#
Reasons To Quit
#
Hal Leonard - Digital
#
SheetMusicPlus
Piano - SKU: HX.1120516 By Merle Haggard. This edition: scorch. E-Z Play Today. Country,Folk. Score. 3 pages. Hal Leonard - Digital #684580. Published b...
(+)
Piano - SKU: HX.1120516 By Merle Haggard. This edition: scorch. E-Z Play Today. Country,Folk. Score. 3 pages. Hal Leonard - Digital #684580. Published by Hal Leonard - Digital (HX.1120516). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99 ≈
£2.36
Reasons To Quit
Reasons To Quit
#
Piano, Voix et Guitare
#
Country
#
Merle Haggard
#
Reasons To Quit
#
Hal Leonard - Digital
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - SKU: HX.1416068 By Merle Haggard. This edition: scorch. Country. Score. 3 pages. Hal Leonard - Digital #684580. Published by ...
(+)
Guitar,Piano,Vocal,Voice - SKU: HX.1416068 By Merle Haggard. This edition: scorch. Country. Score. 3 pages. Hal Leonard - Digital #684580. Published by Hal Leonard - Digital (HX.1416068).
$4.99 ≈
£3.93
Mary, Mary, Quite Contrary
Mary, Mary, Quite Contrary
#
Orgue
#
Enfant
#
Mary, Mary, Quite Contrary
#
Hal Leonard - Digital
#
SheetMusicPlus
Electronic Keyboard,Organ,Piano and Keyboard - SKU: HX.506214 This edition: scorch. E-Z Play Today. Children. Score. 1 pages. Published by Hal Leonard -...
(+)
Electronic Keyboard,Organ,Piano and Keyboard - SKU: HX.506214 This edition: scorch. E-Z Play Today. Children. Score. 1 pages. Published by Hal Leonard - Digital (HX.506214). English. About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99 ≈
£2.36
KIDS' SONG
KIDS' SONG
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Ensemble Jazz
#
INTERMÉDIAIRE
#
Big Band
#
Des McNutty
#
f-f'
#
KIDS' SONG
#
Des Press
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1077216 By Big Band. By Des McNutty. Arranged by Des McNutty. Broadway,Children,Jazz,Musical/Show. Score...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1077216 By Big Band. By Des McNutty. Arranged by Des McNutty. Broadway,Children,Jazz,Musical/Show. Score and parts. 57 pages. Des Press #681382. Published by Des Press (A0.1077216). Kids' Song is an original piece for big band, composed and arranged by Des McNutty. The saxophone section needs flute, clarinet and bass clarinet, with only one alto and one tenor sax. The solo trumpet part is quite easy, spanning one octave; f-f'. The written-out jazz solo is not as difficult as it looks but nevertheless a bit more challenging. An easier solo can be written or improvised to be as difficult as the player dares, or given to someone else. The level is on the easier side of intermediate. Kids' Song was written in the mid- 1990s, apparently after listening to a lot of Isaac Hayes as an antidote to the then-ubiquitous Britpop and EDM. The style is a bit commercial and unashamedly schmaltzy - as you might find in a Broadway show from the time. The harmonies are like recently-poured cornflakes; slushy but slightly crunchy in places - and there's a funky middle section, as if you've mashed in a banana with maple syrup and Tabasco on it or something. Kids' Song was conceived as part of the obscure musical about the fortunes of a banjo-playing flapper from Burnley, Fifi Braithwaite, but dropped for stylistic reasons because the show was set in the late 1920s/ early 1930s. The sentiment is We're hungry. Why can't adults just be nice?.
$34.99 ≈
£27.59
VALS FRÅN DREFVIKEN
VALS FRÅN DREFVIKEN
#
Lars Ek
#
VALS FRÅN DREFVIKEN
#
Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
#
SheetMusicPlus
Accordion,Double Bass,Guitar - SKU: A0.1068894 Composed by Lars Ek. Folk,World. Full Performance. Duration 225. Lars Ek Cosmos Music c/o Musik & Underh...
(+)
Accordion,Double Bass,Guitar - SKU: A0.1068894 Composed by Lars Ek. Folk,World. Full Performance. Duration 225. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921499. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068894). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99 ≈
£1.57
LÄTTA FINGRAR
LÄTTA FINGRAR
#
Lars Ek
#
LÄTTA FINGRAR
#
Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
#
SheetMusicPlus
Accordion,Double Bass,Guitar - SKU: A0.1068893 Composed by Lars Ek. Folk,World. Full Performance. Duration 154. Lars Ek Cosmos Music c/o Musik & Underh...
(+)
Accordion,Double Bass,Guitar - SKU: A0.1068893 Composed by Lars Ek. Folk,World. Full Performance. Duration 154. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921497. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068893). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99 ≈
£1.57
FORNUDDSVALSEN
FORNUDDSVALSEN
#
Lars Ek
#
FORNUDDSVALSEN
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - SKU: A0.1068890 Composed by Lars Ek. Folk,World. Full Performance. Duration 259. Lars Ek Cosmos Music c/o Musik & Underh...
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Accordion,Double Bass,Guitar - SKU: A0.1068890 Composed by Lars Ek. Folk,World. Full Performance. Duration 259. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921479. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068890). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99 ≈
£1.57
LOVELY THOUGHTS
LOVELY THOUGHTS
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Lars Ek
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LOVELY THOUGHTS
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - SKU: A0.1068892 Composed by Lars Ek. Folk,World. Full Performance. Duration 233. Lars Ek Cosmos Music c/o Musik & Underh...
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Accordion,Double Bass,Guitar - SKU: A0.1068892 Composed by Lars Ek. Folk,World. Full Performance. Duration 233. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921495. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068892). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99 ≈
£1.57
SNÖKÄNGAN
SNÖKÄNGAN
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Lars Ek
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SNÖKÄNGAN
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - SKU: A0.1068889 Composed by Lars Ek. Folk,World. Full Performance. Duration 206. Lars Ek Cosmos Music c/o Musik & Underh...
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Accordion,Double Bass,Guitar - SKU: A0.1068889 Composed by Lars Ek. Folk,World. Full Performance. Duration 206. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921477. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068889). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99 ≈
£1.57
Il Tramonto ... Shelley-Ascoli (2022) full score
Il Tramonto ... Shelley-Ascoli (2022) full score
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Voix duo, Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Thomas Oboe Lee
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Il Tramonto ... Shelley-Ascoli
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Thomas Oboe Lee
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SheetMusicPlus
Piano,Voice Duet Piano,Voice - Level 4 - SKU: A0.898494 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary. 30 pages. Thomas Oboe Lee #504...
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Piano,Voice Duet Piano,Voice - Level 4 - SKU: A0.898494 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary. 30 pages. Thomas Oboe Lee #504802. Published by Thomas Oboe Lee (A0.898494). Full score. I am a frequent visitor to the Protestant Cemetery in Testaccio, Rome. Shelley, Keats and Corso are buried there among other expatriates who adopted the city of Rome as their own. I am a not a huge fan of the music by Ottorino Respighi, whose work, like the Pines of Rome, reminds too much of Hollywood music scores. But I was pleasantly surprised when I discovered on YouTube a chamber work he wrote for mezzo-soprano and string quartet called “Il Tramonto.†The vocal and string writing are exquisite, quite beautiful and heart-felt. When I looked at the source of the text I saw that it was an Italian translation by Roberto Ascoli of a poem by Percy Bysshe Shelley. That immediately inspired me to do my own musical setting of this poem. Two reasons. One, it has a Rome connection. Two, two of my favorite subjects in music are all there in one poem: love and death. Unfortunately I did not find the original English version to be sufficiently “musical.†The archaic language was a bit leaden and convoluted. On the other hand, the Italian translation is so much more lyrical and transcendental. I divided the poem into five parts. At the end I decided to tag on a text I have wanted to set for quite some time: Media Vita. I think the subject of this Latin text fits beautifully as a coda or “apotheosis†to Il Tramonto. I. Moderato … Già v’ebbe un uomo II. Andante … Ora è sommerso il sole III. Adagio … Il given e la dama giacquer tra il sonno IV. Moderato … Neri gli occhi ma non fulgidi più V. Adagio … Ho tal retaggio che la terra non dà VI. Apotheosis: Largo … Media Vita Enjoy!!!
$9.99 ≈
£7.88
Plush
Plush
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Piano seul
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INTERMÉDIAIRE
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Damien Gauci
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Plush
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Damien Gauci
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1425811 By Damien Gauci. By Damien Gauci. Contemporary,New Age. Score. 5 pages. Damien Gauci #1006571. Published by Damie...
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Piano Solo - Level 3 - SKU: A0.1425811 By Damien Gauci. By Damien Gauci. Contemporary,New Age. Score. 5 pages. Damien Gauci #1006571. Published by Damien Gauci (A0.1425811). I wanted to write something a bit simpler which is how this piece came about. I remember one of my composition lecturers teaching us how to write a melody with a strong structure that a lot of film composers use for film scores. It was a really good way to write something quickly and it allowed me to come up with this piece a lot quicker than the other ones. While the overall structure of the piece is important to have a balance between repetition and variation as well as new ideas, the smaller structure of a melody is quite important too for the same reasons. You don’t want to just repeat the same melody over and over again or else it gets boring, but you also don’t want to just have 10 different melodic ideas because then the idea of the piece becomes lost and it’s hard to follow where it’s going.As for the name of the piece, I came up with it after I had written it so it didn’t influence the composition process in any way. I listened back to the piece a few times to come up some ideas and write some different names down but this word stood out to me. It has a gentle feel and a kind of curious mood to it as well.
$1.99 ≈
£1.57
Satie: Parade I. Prestidigitateur chinois - wind dectet/bass (with optional percussion)
Satie: Parade I. Prestidigitateur chinois - wind dectet/bass (with optional percussion)
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: Parade I. Prestidigitat
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RayThompsonMusic
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SheetMusicPlus
A Clarinet,Bassoon,Double Bass,Flute,Oboe/English Horn,Percussion,Timpani,Tuba - Level 4 - SKU: A0.1300657 Composed by Erik Satie. Arranged by Ray Thomp...
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A Clarinet,Bassoon,Double Bass,Flute,Oboe/English Horn,Percussion,Timpani,Tuba - Level 4 - SKU: A0.1300657 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 27 pages. RayThompsonMusic #890400. Published by RayThompsonMusic (A0.1300657). Arranged double wind quintet/bass and optional percussion.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.Prestidigitateur chinois (Chinese Conjuror) is no 1 in the ballet, and includes some of the odd percussion : sirens in addition to normal orchestral perc.The piece can be performed without percussion....but the percussion gives it an extra something!!
$19.95 ≈
£15.73
Satie: Parade III.Acrobates (Acrobats) - wind dectet/bass (with optional percussion)
Satie: Parade III.Acrobates (Acrobats) - wind dectet/bass (with optional percussion)
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: Parade III.Acrobates
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Mallet Percussion,Multi-Percussion,Oboe/English Horn - Level 4 - SKU: A0.1296860 Composed by Erik Satie. Arranged by ...
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Bassoon,Clarinet,Double Bass,Flute,Mallet Percussion,Multi-Percussion,Oboe/English Horn - Level 4 - SKU: A0.1296860 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber,Comedy. 40 pages. RayThompsonMusic #887010. Published by RayThompsonMusic (A0.1296860). Arranged double wind quintet/bass and optional percussion.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.Acrobates (Acrobats) is no 3 in the ballet, and includes some of the odd percussion : sirens and a bottle phone, in addition to normal orchestral perc.The piece can be performed without percussion....but the percussion gives it an extra something!!
$19.95 ≈
£15.73
Satie: Parade - II. Petite Fille Americaine - wind dectet
Satie: Parade - II. Petite Fille Americaine - wind dectet
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: Parade - II. Petite Fil
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe,Percussion - Level 4 - SKU: A0.1353773 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century. 27 p...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe,Percussion - Level 4 - SKU: A0.1353773 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century. 27 pages. RayThompsonMusic #938540. Published by RayThompsonMusic (A0.1353773). Arranged double wind quintet/bass and optional percussion.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche. Petite Fille Americaine  (Young American Girl) is no 2 in the ballet, and includes some of the odd percussion : typewriter and gunshots, in addition to normal orchestral perc.It also includes the Ragtime Dance which became very popular in it's own right.The piece can be performed without percussion....but the percussion gives it an extra something!!
$14.95 ≈
£11.79
Satie: Parade - Choral & Prélude de rideau rouge - wind dectet
Satie: Parade - Choral & Prélude de rideau rouge - wind dectet
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: Parade - Choral & P
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1293743 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 16 page...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1293743 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 16 pages. RayThompsonMusic #884220. Published by RayThompsonMusic (A0.1293743). Arranged wind dectet/bass (double wind quintet)A taster of the opening music for Erik Satie's Ballet Parade.Choral and Prelude of the red curtainOther scores to follow.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of milk bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.
$4.99 ≈
£3.93
Three Impressions of Northern Arizona Violin Version
Three Impressions of Northern Arizona Violin Version
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Violon et Piano
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Judith Cloud
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panose-1:2 4 5 3 5 4 6 3 2 4
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Three Impressions of Northern
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Judith Cloud
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SheetMusicPlus
Piano,Violin - SKU: A0.981188 Composed by Judith Cloud (b. 1954). 20th Century,Contemporary,World. 32 pages. Judith Cloud #4621701. Published by Judith ...
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Piano,Violin - SKU: A0.981188 Composed by Judith Cloud (b. 1954). 20th Century,Contemporary,World. 32 pages. Judith Cloud #4621701. Published by Judith Cloud (A0.981188). <!-- /* Font Definitions */ @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Times New Roman; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:Times New Roman; mso-bidi-theme-font:minor-bidi;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> Program notes: Three Impressions of Northern Arizona for flute (or violin) and piano The three movements of this piece were composed in the summer of 2007 for Emily McKay, flute and Rita Borden, piano. I chose places and themes that were compelling for me for a variety of reasons. The first movement, Wupatki, is based on the feeling of expanse and solitude I experience when I am visiting this ancient pueblo and the stunning vistas of the Painted Desert. The Song of Friendship, a charming and simple tune was introduced to me by Gary Gorman, a Native American student of mine in the early 1990’s. I fashioned a simple arrangement and composed some original tunes to accompany it. This movement is dedicated to my colleague, clarinetist Michael Sullivan, who was dying from a rare form of cancer during the days I was finishing this movement. The day I finished the piece, I realized that it needed to end as if it never had a chance to finish, much like Michael’s life that was so tragically cut short. Quite by chance, the music ends at bar 43-the exact number of years of Michael’s brief life. Wind, title of the third movement, was composed to give musical interpretation to this element of relentless fury we experience during several months out of the year in this region. It springs up then dies down, only to resurface with more force and resilience.
$15.00 ≈
£11.83
Satie: Parade - Final & Suite au Prélude de rideau rouge - wind dectet
Satie: Parade - Final & Suite au Prélude de rideau rouge - wind dectet
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: Parade - Final & Su
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1335055 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 22 page...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1335055 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 22 pages. RayThompsonMusic #920917. Published by RayThompsonMusic (A0.1335055). Satie: Parade - Final & Suite au Prélude de rideau rougeArranged wind dectet/bass (double wind quintet)The concluding music for Erik Satie's Ballet Parade.Other movements from Parade are available.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of milk bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showI have omitted the  percussion in my arrangement of the finale.The premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.Arranged wind dectet/bass (double wind quintet).
$14.95 ≈
£11.79
Zdes' khorosho - Serghei Rachmaninov
Zdes' khorosho - Serghei Rachmaninov
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Violon et Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Serghei Rachmaninov
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Adrian F
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Zdes' khorosho - Serghei Rachm
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Adrian F. Pipas
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SheetMusicPlus
Piano,Violin - Level 4 - SKU: A0.948808 Composed by Serghei Rachmaninov. Arranged by Adrian F. Pipas. 20th Century. 7 pages. Adrian F. Pipas #6642575. P...
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Piano,Violin - Level 4 - SKU: A0.948808 Composed by Serghei Rachmaninov. Arranged by Adrian F. Pipas. 20th Century. 7 pages. Adrian F. Pipas #6642575. Published by Adrian F. Pipas (A0.948808). ЗдеÑÑŒ хорошо (Zdes' khorosho, How nice is here) was written in April 1902, in a sweet moment in the composer's life: he had overcome a creative block and had just married his cousin Natalia Sarina. Zdes' khorosho is n. 7 from Twelve Romances, op. 21, a beautiful song that talks about the bond between man, nature and God. It’s also a love song; One of the things I like the most is the balance between contemplation and passion that Rachmaninov accomplishes. The poem, by the Countess Glafira Adolfovna Einerling, a contemporary writer of the composer who wrote under the pseudonym of Galina, simply describes a sunset. I don't know if the landscape portrayed is similar to what Rachmaninov could see from his home but no doubt he felt it part of his own; he even changed the beginning of the poem so he said that the nice place was here. Zdes' khorosho is a song full of lyricism, seemingly simple but demanding for the singer (please pay attention to the pianissimo at the last verse, which seems to arise from nowhere), with an exquisite accompaniment. Some scholars think that the true essence of Rachmaninov is found in songs like that, rather than in his athletic piano concerts.In 1963, the Russian composer Vladimir Michailovich Jurowski (father and grandfather of conductors) orchestrated ten songs by Rachmaninov, including Zdes' khorosho, and there is a later orchestration of this song by Michael Rot. You know that I usually find it difficult to renounce the original piano versions, especially when the composer didn't orchestrated them, but I recommend you to listen to Anna Netrebko singing this song with the Mariinsky Theatre Orchestra conducted by Valery Gergiev.You might wonder why I don't share this version here, there are two reasons: first, I can’t do without that beautiful piano; two, I chose my version months ago (something that lately happens quite often). I said before that Zdes' khorosho is between contemplation and passion; Most of singers enhance the most contemplative perspective, that's the case of the lovely performance by Anna Netrebko. Others sing the most passionate version, like the one we’re listening today. Its tempo is faster than usual, it lasts about a minute and a half; maybe it would surprise you if you're used to slower versions. I hope you enjoy this song as much as me; I think this performance by Nicolai Gedda and Gerald Moore, recorded live in 1966, is wonderful.Source: Liederabend.cathttps://www.liederabend.cat/en/bloc/entrades/400-how-nice-it-is-here
$9.99 ≈
£7.88
Experiencing High Volumes for piano triet
Experiencing High Volumes for piano triet
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Contemporain
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John Pitts
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Experiencing High Volumes for
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Intensely Pleasant Music
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SheetMusicPlus
Small Ensemble Piano - Level 4 - SKU: A0.890708 Composed by John Pitts. 20th Century,Contemporary. Score and parts. 24 pages. Intensely Pleasant Music #...
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Small Ensemble Piano - Level 4 - SKU: A0.890708 Composed by John Pitts. 20th Century,Contemporary. Score and parts. 24 pages. Intensely Pleasant Music #3424703. Published by Intensely Pleasant Music (A0.890708). Experiencing High Volumes (2014) triet 6 minutes Composed for the Severnside Composers Alliance’s second Three is the Magic Number concerts of contemporary piano triets at the Lantern, Colston Hall, Bristol in 2014, performed by Milena Zhivotovskaya, Rob Broomfield and John Pitts. This is pleasant, relaxing armchair music, which doesn’t actually get particularly loud. I have Francisco Tárrega (1852-1909) to thank for a motif that recurs through the piece – a short section of his Gran Vals, which you may recognise. I have omitted the last note of the original melody, which is actually an octave down from a more familiar version you may know. Before this motif made its way into this piece I had considered a title along the lines of Cycle of Thirds for harmonic reasons which may be obvious. But I put that idea permanently on hold after trying to get through to a utilities company. In retrospect, I should have ensured that the end looped neatly back to the beginning (which sadly it doesn’t quite), so that I could attempt to sell a recording of this piece to businesses for their call waiting music. https://www.youtube.com/watch?v=m4MDdZpWQNA
$6.99 ≈
£5.51
Machaut: Le Messe de Nostre Dame for 2 Horns & 2 Trombones - Score Only
Machaut: Le Messe de Nostre Dame for 2 Horns & 2 Trombones - Score Only
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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FACILE
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Guillaume de Machaut, 1300-137
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James M
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Machaut: Le Messe de Nostre Da
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jmsgu3
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SheetMusicPlus
Brass Quartet - Level 2 - SKU: A0.1258043 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festiva...
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Brass Quartet - Level 2 - SKU: A0.1258043 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #851281. Published by jmsgu3 (A0.1258043). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$49.95 ≈
£39.38
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Reasons To Quit
