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Siren's Call
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Vous avez sélectionné:
Siren's Call
Partitions à imprimer
19 partitions trouvées
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1
Song To The Siren
Song To The Siren
#
Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Tim Buckley
#
Andrew Orgee
#
Song To The Siren
#
Andrew Orgee
#
SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1369022 By Tim Buckley. By Larry Beckett and Tim Buckley. Arranged by Andrew Orgee. 20th Century,C...
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Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1369022 By Tim Buckley. By Larry Beckett and Tim Buckley. Arranged by Andrew Orgee. 20th Century,Contemporary,New Age,Pop. 17 pages. Andrew Orgee #953365. Published by Andrew Orgee (A0.1369022). This arrangement of “Song To The Siren†is based on Tim Buckley's original 1970 version of the song, and is scored for SATB choir with piano. The arrangement follows the verse and chorus structure of Larry Beckett's original text, but there is a countermelody which threads its way between the melody of the song. This is first stated by the piano accompaniment and then taken up by the choir throughout. This is the siren's song calling across the sea which is intended to be both beautiful and haunting at the same time. The piano accompaniment mimics the rolling movement of the sea which builds in intensity until the final closing bars.The arrangement is intended for choirs of a medium to large size, as the soprano and bass parts occasionally split into two parts.
$1.99 ≈
¥14.45
At the Edge of the Body's Night
At the Edge of the Body's Night
#
Piano seul
#
Contemporain
#
William Grosvenor Neil
#
At the Edge of the Body's Nigh
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TheComposerStudio.Com, LLC
#
SheetMusicPlus
Piano Solo - SKU: A0.982538 Composed by William Grosvenor Neil. Contemporary. Score. 50 pages. TheComposerStudio.Com, LLC #6709495. Published by TheComp...
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Piano Solo - SKU: A0.982538 Composed by William Grosvenor Neil. Contemporary. Score. 50 pages. TheComposerStudio.Com, LLC #6709495. Published by TheComposerStudio.Com, LLC (A0.982538). Program Notes: At the Edge of the Body’s Night (2008) for piano and digital acoustics is a setting of Seven Poems by the late poet, Mark Strand. These poems intrigued me with their potent brevity and mysterious symbolism. I found in their riddle-like form a concise emotional message, ideal for creating short melodic themes and inspiring fantastic piano music. When I recorded Mark’s voice reading the poems, I knew that his recitation would be part of the compositional resources for the piece. His resonant voice, enhanced by the audio editing process, provided a powerful context for the musical interpretation of his words. The addition of a soprano voice (Ashley Parker) in the digital landscape alludes to the traditional art song setting of poems. and her siren-call voice recalls the female muse that I imagined inspired the poet in writing his words. The piano music guides the listener throughout this fantastic journey of sound and music reflecting on the meaning and character of the poems and driving the dream-like narrative forward. Performance of the digital acoustic: Each of the six movements (I & II are combined) for piano are accompanied by a digital audio landscape as part of the performance. At the beginning of each section, a cue is notated in the score to start the audio wave file. It is recommended that a high fidelity audio play back system be employed in the recital hall or performance space. The sound system could be interfaced with a laptop computer or iPad operated by the pianist using a foot pedal similarly used with iPads supporting a digital part or it could be executed during the performance by a technician. The rental of the digital acoustic files includes a Key File license from Qlab that TheComposerStudio will email to be uploaded to a PC or Mac laptop computer for the duration of the rental. The uploaded software will ensure that the files are executed during a performance with ease and accuracy. The rental agreement also includes support from TheComposerStudio.Com, LLC from the time of rental through the performance of the piece. Duration: ca. 24 mins. www.williamneil.net www.thecomposerstudio.com for more info: thecomposerstudio@gmail.com
$25.00 ≈
¥181.52
Siryen' / Siren' / The Lilacs Op.21 No.5 Lower Key (E-flat) DICTION SCORE with IPA and translation
Siryen' / Siren' / The Lilacs Op.21 No.5 Lower Key (E-flat) DICTION SCORE with IPA and translation
#
Piano, Voix
#
INTERMÉDIAIRE/AVANCÉ
#
Sergei Rachmaninoff
#
Russian for Singers
#
Siryen' / Siren' / The Lilacs
#
Natalia Melnik
#
SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1160647 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. 19th Century,20th Century...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1160647 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. 19th Century,20th Century,Classical,Opera,Romantic Period. Score. 3 pages. Natalia Melnik #760943. Published by Natalia Melnik (A0.1160647). S. Rachmaninoff. Сирень / Siryen' / Siren' / The Lilacs Op.21 No.5. Lower key E-flat majorDiction score - sheet music with IPA phonetics, word-by-word translation and grammatically correct translation.FREE DOWNLOAD! A quick and comprehensive tutorial on Russian phonetics: https://www.russian4singers.com/russian-diction-for-singers-1 . FULL SONG PACK including Diction score (sheet music with IPA phonetics and translations), Diction audio guide, Music coaching audio guide (Voice line + piano line), Rehearsal backing track (Piano line only) is available at https://www.russian4singers.com/product-page-2/s-rachmaninoff-lilacs-op-21-n5-lower-key-e-flat-full-pack We are offering a range of Russian diction coaching services:- individual coaching- group webinars- lectures on Russian Music Literature for singers​Please visit our website for more information https://www.russian4singers.com/bookingPlease SUBSCRIBE to Russian for Singers YouTube Channel https://www.youtube.com/@RussianForSingers
$8.50 ≈
¥61.72
Siryen' / Siren' / The Lilacs Op.21 No.5 Original key DICTION SCORE with IPA and translation
Siryen' / Siren' / The Lilacs Op.21 No.5 Original key DICTION SCORE with IPA and translation
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Piano, Voix
#
INTERMÉDIAIRE/AVANCÉ
#
Sergei Rachmaninoff
#
Russian for Singers
#
Siryen' / Siren' / The Lilacs
#
Natalia Melnik
#
SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.503128 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. Classical,Opera,Romantic P...
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Piano,Vocal,Voice - Level 4 - SKU: A0.503128 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. Classical,Opera,Romantic Period. Score. 3 pages. Natalia Melnik #115321. Published by Natalia Melnik (A0.503128). S. Rachmaninoff. Сирень / Siryen' / Siren' / The Lilacs Op.21 No.5. Diction score - sheet music with IPA phonetics, word-by-word translation and grammatically correct translation. FREE DOWNLOAD! A quick and comprehensive tutorial on Russian phonetics: https://www.russian4singers.com/russian-diction-for-singers-1 . FULL SONG PACK including Diction score (sheet music with IPA phonetics and translations), Diction audio guide, Music coaching audio guide (Voice line + piano line), Rehearsal backing track (Piano line only) is available at https://www.russian4singers.com/product-page-2/s-rachmaninoff-lilacs-op-21-n5-original-key-full-packWe are offering a range of Russian diction coaching services:- individual coaching- group webinars- lectures on Russian Music Literature for singers​Please visit our website for more information https://www.russian4singers.com/bookingPlease SUBSCRIBE to Russian for Singers YouTube Channel https://www.youtube.com/@RussianForSingers
$8.50 ≈
¥61.72
Siryen' / Siren' / The Lilacs Op.21 No.5 Lower Key (F) DICTION SCORE with IPA and translation
Siryen' / Siren' / The Lilacs Op.21 No.5 Lower Key (F) DICTION SCORE with IPA and translation
#
Piano, Voix et Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Opera
#
Classique
#
Sergei Rachmaninoff
#
Russian for Singers
#
Siryen' / Siren' / The Lilacs
#
Natalia Melnik
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.505743 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. Classical,Opera,Rom...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.505743 By Sergei Rachmaninoff. By Sergei Rachmaninoff. Arranged by Russian for Singers. Classical,Opera,Romantic Period. Score. 3 pages. Natalia Melnik #117403. Published by Natalia Melnik (A0.505743). S. Rachmaninoff. Сирень / Siryen' / Siren' / The Lilacs Op.21 No.5.Diction score - sheet music with IPA phonetics, word-by-word translation and grammatically correct translation.FREE DOWNLOAD! A quick and comprehensive tutorial on Russian phonetics: https://www.russian4singers.com/russian-diction-for-singers-1 .FULL SONG PACK including Diction score (sheet music with IPA phonetics and translations), Diction audio guide, Music coaching audio guide (Voice line + piano line), Rehearsal backing track (Piano line only) is available at https://www.russian4singers.com/product-page-2/s-rachmaninoff-lilacs-op-21-n5-lower-key-full-packWe are offering a range of Russian diction coaching services:- individual coaching- group webinars- lectures on Russian Music Literature for singers​Please visit our website for more information https://www.russian4singers.com/bookingPlease SUBSCRIBE to Russian for Singers YouTube Channel https://www.youtube.com/@RussianForSingers
$8.50 ≈
¥61.72
La Sirena (from "9 Fantasies for 2")
La Sirena (from "9 Fantasies for 2")
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2 Saxophones (duo)
#
INTERMÉDIAIRE
#
Thomas Morley
#
Wendolien Krul
#
La Sirena
#
Wendolien Krul
#
SheetMusicPlus
Tenor Saxophone Duet Tenor Saxophone - Level 3 - SKU: A0.1237713 Composed by Thomas Morley. Arranged by Wendolien Krul. Chamber,Classical,Early Music,Re...
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Tenor Saxophone Duet Tenor Saxophone - Level 3 - SKU: A0.1237713 Composed by Thomas Morley. Arranged by Wendolien Krul. Chamber,Classical,Early Music,Renaissance,Traditional. Score. 4 pages. Wendolien Krul #833216. Published by Wendolien Krul (A0.1237713). Discover the beautiful sheet music of composer Thomas Morley with our arrangement for La Sirena (The Mermaid), the eighth part of the enchanting series 9 Fantasies for Two.Originally written for 2 viola da gambas, it's carefully crafted into a unique arrangement for 2 tenor saxophones. This allows saxophonists of all levels to enjoy Morley's enchanting music.La Sirena takes you into the depths of the ocean with its enchanting melodies and harmonies. This piece reflects the whimsical and mysterious call of the mermaid. This piece offers an excellent opportunity for more expressive freedom and exploration of the most beautiful way to play the melody, as there are no precise indications in the original work.Our sheet music is of high quality, thoughtfully compiled, with clear notation that allows for artistic interpretation. This empowers you to explore and express your own unique musicality while playing Thomas Morley's music.Don't miss this chance to immerse yourself in the masterpieces of this renowned composer. Get your copy of the sheet music for La Sirena today and let the enchanting sounds of Morley come to life on your tenor saxophone.
$5.99 ≈
¥43.49
Falling into the green abyss - suite for guitar solo.
Falling into the green abyss - suite for guitar solo.
#
Guitare
#
Vladimir Gapontsev
#
Falling into the green abyss -
#
VLADIMIR GAPONTSEV
#
SheetMusicPlus
Solo Guitar - SKU: A0.1032773 Composed by Vladimir Gapontsev. 20th Century,Blues,Contemporary,Pop. Individual part. 17 pages. VLADIMIR GAPONTSEV #537031...
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Solo Guitar - SKU: A0.1032773 Composed by Vladimir Gapontsev. 20th Century,Blues,Contemporary,Pop. Individual part. 17 pages. VLADIMIR GAPONTSEV #5370315. Published by VLADIMIR GAPONTSEV (A0.1032773). The full version of Falling into the green abyss - suite by Vladimir Gapontsev, composed as an impression from Giulio Aristide Sartorio's painting The Siren.6 movements:1 The Siren's Call.2 The Siren.3 Interlude.4 The Dance. 5 Recitativo.6 Ostinato Blues.
$5.45 ≈
¥39.57
Siren's Call
Siren's Call
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Chorale
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AVANCÉ
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Contemporain
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Timothy H Rogers
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Siren's Call
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Timothy H. Rogers
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SheetMusicPlus
By Timothy H Rogers. For Choral. 21st Century. Advanced. Score. Published by Timothy H. Rogers ...
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By Timothy H Rogers. For Choral. 21st Century. Advanced. Score. Published by Timothy H. Rogers
$5.00 ≈
¥36.30
Into The Unknown
Into The Unknown
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Chorale SATB
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INTERMÉDIAIRE
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Film Walt Disney
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Panic! At the Disco
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Into The Unknown
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Cantus Youth Choirs Publishing
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SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 3 - SKU: A0.1333732 By Panic! At the Disco. By Kristen Anderson-Lopez and Robert Lopez. Arranged by Annie Robe...
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Choral Choir,Choral (SATB divisi) - Level 3 - SKU: A0.1333732 By Panic! At the Disco. By Kristen Anderson-Lopez and Robert Lopez. Arranged by Annie Roberts and Keith McCauley. Broadway,Film/TV,Musical/Show. 12 pages. Cantus Youth Choirs Publishing #920029. Published by Cantus Youth Choirs Publishing (A0.1333732). Cantus Youth Choirs presents Into the Unknown (the Panic! At the Disco version) from Walt Disney's FROZEN 2. This version is featured in the closing credits of the film, and focuses on Elsa's struggle to stay home, safe, with her loved ones, or to venture out into the unknown to respond to the siren call of her family's mysterious past! For contemporary a cappella ensemble with Elsa, The Voice, SATB divisi, vocal bass, and vocal percussion.
$2.12 ≈
¥15.39
Dry Bones
Dry Bones
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Cloches
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FACILE
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Hart Morris
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Dry Bones
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Hope Publishing - Digital
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SheetMusicPlus
Handbells handbell choir (3-5 octaves) - Level 2 - SKU: H1.2083DP Arranged by Hart Morris. General Worship, Sacred. Handbell score. 8 pages. Hope Publis...
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Handbells handbell choir (3-5 octaves) - Level 2 - SKU: H1.2083DP Arranged by Hart Morris. General Worship, Sacred. Handbell score. 8 pages. Hope Publishing - Digital #2083DP. Published by Hope Publishing - Digital (H1.2083DP). Old spiritual Commissioned for a young ringer's festival, this toe-tapping rendition of the old spiritual highlights the bell score with LOTS of percussion and speaking parts for the choir. The bell choir is divided in half, then they speak their parts in group in an answer fashion. Lots of fun! Percussion includes: Wood Block, Metal Saucepan, Triangle or Finger Cymbals, Rim shot or Tom Tom, Cowbell, Siren Whistle, Bicycle bell, Tom tom, Referee's whistle, Bicycle horn, Bird call (kazoo), Ratchet, Slide Whistle. Measures total 77.
$6.25 ≈
¥45.38
The Saddest Noise
The Saddest Noise
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separation’s sorceryÂ
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Christopher Tin and Emily Dick
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Lisa Ochoco
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The Saddest Noise
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Lisa L Ochoco
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SheetMusicPlus
Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1171219 Composed by Christopher Tin and Emily Dickinson. Arranged by Lisa Ochoco. Contempora...
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Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1171219 Composed by Christopher Tin and Emily Dickinson. Arranged by Lisa Ochoco. Contemporary,Film/TV. 21 pages. Lisa L Ochoco #771557. Published by Lisa L Ochoco (A0.1171219). Christopher Tin is a contemporary composer who is best known for his choral piece called Baba Yetu.  With an impressive educational background in music composition, English literature, and art history, his compositions come to life with like nothing that I've experienced before. It is simply some of the most beautiful and expressive music I have ever heard.  The Lost Birds is a musical memorial to bird species driven to extinction by humans.  Tin’s soundtrack is a fantastic work of art, with its soaring musical phrases that make you feel like you’re flying. The Saddest Noise is a choral piece, with its lyrics taken from Emily Dickinson’s poem, “The Saddest Noise, the Sweetest Noise,†which talks of the relationship between beauty and grief. The saddest noise, the sweetest noise, The maddest noise that grows, The birds, they make it in the spring, At night’s delicious close.   Between the March and April line That magical frontier Beyond which summer hesitates, Almost too heavenly near.   It makes us think of all the dead That sauntered with us here, By separation’s sorcery Made cruelly more dear.   It makes us think of what we had, And what we now deplore. We almost wish those siren throats Would go and sing no more.   An ear can break a human heart As quickly as a spear, We wish the ear had not a heart So dangerously near.   The Lost Birds soundtrack was sung by the choral group, Voces8, who made the music and poetry come to life in a way that not many other groups could.  It is simply beautiful. This arrangement is scored for flute choir – 4 C, alto, bass, and contrabass.  There is an optional cello part that doubles the contrabass.  This is not a strict transcription - I added moving parts and changed/added notes to make it of more interest as an instrumental piece.  I hope you like it. Duration: 3.5 minutes.
$16.00 ≈
¥116.17
The Saddest Noise
The Saddest Noise
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separation’s sorceryÂ
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Christopher Tin and Emily Dick
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Lisa Ochoco
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The Saddest Noise
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Lisa L Ochoco
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - SKU: A0.1171245 Composed by Christopher Tin and Emily Dickinson. Arranged by Lisa Ochoco. Co...
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - SKU: A0.1171245 Composed by Christopher Tin and Emily Dickinson. Arranged by Lisa Ochoco. Contemporary,Film/TV. 21 pages. Lisa L Ochoco #771583. Published by Lisa L Ochoco (A0.1171245). Christopher Tin is a contemporary composer who is best known for his choral piece called Baba Yetu.  With an impressive educational background in music composition, English literature, and art history, his compositions come to life with like nothing that I've experienced before. It is simply some of the most beautiful and expressive music I have ever heard.  The Lost Birds is a musical memorial to bird species driven to extinction by humans.  Tin’s soundtrack is a fantastic work of art, with its soaring musical phrases that make you feel like you’re flying. The Saddest Noise is a choral piece, with its lyrics taken from Emily Dickinson’s poem, “The Saddest Noise, the Sweetest Noise,†which talks of the relationship between beauty and grief.   The saddest noise, the sweetest noise, The maddest noise that grows, The birds, they make it in the spring, At night’s delicious close.   Between the March and April line That magical frontier Beyond which summer hesitates, Almost too heavenly near.   It makes us think of all the dead That sauntered with us here, By separation’s sorcery Made cruelly more dear.   It makes us think of what we had, And what we now deplore. We almost wish those siren throats Would go and sing no more.   An ear can break a human heart As quickly as a spear, We wish the ear had not a heart So dangerously near.   The Lost Birds soundtrack was sung by the choral group, Voces8, who made the music and poetry come to life in a way that not many other groups could.  It is simply beautiful.This arrangement is scored for clarinet choir – 4 Bb, alto, bass, and contrabass.  There is an optional Eb part to play in addition to, or in lieu of, the 1st Bb part.  This is not a strict transcription - I added moving parts and changed/added notes to make it of more interest as an instrumental piece.  I hope you like it. Duration: 3.5 minutes.
$16.00 ≈
¥116.17
Over the Wire
Over the Wire
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Melanie Guerin
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Over the Wire
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Melanie B Guerin
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.854316 Composed by Melanie Guerin. Contemporary,Standards. Score and parts. 36 pages. Melanie B Guerin #3043779. Publis...
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Concert Band - Level 3 - SKU: A0.854316 Composed by Melanie Guerin. Contemporary,Standards. Score and parts. 36 pages. Melanie B Guerin #3043779. Published by Melanie B Guerin (A0.854316). This grade 3 band piece features mallet percussion in an exciting burst representing the electrical energy of a phone call traveling over the wires. Special instrumental effects and spoken dialogue contribute to a unique concert experience, excellent for a concert opener or finale. We hear touch tones, ringing phones, a 911 call, and emergency sirens as the phone call dances along the wires before plunging under the highway to finally emerge at a location of the ensemble's choosing. At about 2:15 in length, the piece offers some rhythmic and technical challenges for mallets and upper woodwinds, with an active part for low brass and woodwinds that provides a nice change of pace for those players. Bassoon, horn, and oboe parts are doubled in other instruments and may be omitted. Worksheet for reinforcing rhythms included.
$55.00 ≈
¥399.34
Joyce
Joyce
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Peter Eotvos
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Joyce
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Schott Music - Digital
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SheetMusicPlus
Clarinet and string quartet - SKU: S9.Q53550 For clarinet and string quartet. Composed by Peter Eotvos. This edition: score and parts. In seven e...
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Clarinet and string quartet - SKU: S9.Q53550 For clarinet and string quartet. Composed by Peter Eotvos. This edition: score and parts. In seven episodes Joyce musically portrays the erotic reveries of the protagonist Leopold Bloom from chapter 11 of James Joyce's Ulysses. Also available in a version - with lyrics - for soprano and string quartet (The Sirens Cycle, Part I). Downloadable, Score and parts. Duration 20 minutes. Schott Music - Digital #Q53550. Published by Schott Music - Digital (S9.Q53550). As most of my instrumental pieces, Joyce is also based on a literary source. My first string quartet (Korrespondenz) transferred the correspondence between Leopold and Wolfgang Amadeus Mozart, at times word by word, to the world of music, whose strong dramatic character effectively reflects the conflicts between father and son. I found the closest literary references to my second string quartet, which takes its listeners to the world of Odysseus and the sirens, in the works of Joyce, Homer and Kafka. The string quartet is enriched with an additional soprano part, which tells the classic story from three different perspectives. The complete title of my second string quartet is The Sirens Cycle, consisting of three movements: Joyce – Homer – Kafka. The twenty-minute-long duration of the first movement of the cycle “Joyce†allows it to be performed independently. This time, the vocal part accompanied by the strings is replaced by a solo clarinet, which – instead of giving a verbal account of Chapter 11 of Joyce’s Ulysses – renders the quite masculine protagonist, Leopold Bloom’s musing over the attractive barmaids with befittingly vigorous musical gestures. Joyce for clarinet and string quartet immerses in James Joyce’s unique world and typical imaginative word creations, placing them into the world of musical composition. Peter Eötvös.
$66.99 ≈
¥486.39
Dance Me To The End Of Love
Dance Me To The End Of Love
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Quintette de Cuivres: autres combinaisons
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FACILE
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Rock
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Madeleine Peyroux
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Peet du Toit
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Dance Me To The End Of Love
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Peet du Toit
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SheetMusicPlus
Brass Quintet Euphonium,Flugelhorn,Tuba - Level 2 - SKU: A0.1402684 By Madeleine Peyroux. By Leonard Cohen. Arranged by Peet du Toit. Pop,Rock. 29 pages...
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Brass Quintet Euphonium,Flugelhorn,Tuba - Level 2 - SKU: A0.1402684 By Madeleine Peyroux. By Leonard Cohen. Arranged by Peet du Toit. Pop,Rock. 29 pages. Peet du Toit #985908. Published by Peet du Toit (A0.1402684). This Greek dance was inspired by the Holocaust, the death camps, the cremation, the cries, the fate... In some of those camps, prisoner musicians had to play classical music to their fellow inmates on the latter's way to death - no return... until the musician had to follow suit. Unlike Nearer my God, to Thee on the Titanic, these musicians were forced to do this. I became so emotionally involved in this arrangement... every sequence has a meaning: the high cries of the women and the children (flügelhorns), the low voices of the concern and physically defeated men (euphonium & french horn), the sirens (french horn), the promise of eternity (euph solo), the tuba (the continuous beat of walking towards one's death) and the perpetual percussion (the clock is ticking...) and the cyclical theme of endless love against all odds, remembering the good times in a dance with your loved one(s). Yours.
$19.00 ≈
¥137.95
Dance Me To The End Of Love
Dance Me To The End Of Love
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Jazz
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Madeleine Peyroux
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Peet du Toit
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Dance Me To The End Of Love
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Peet du Toit
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SheetMusicPlus
Small Ensemble Drum Set,Euphonium,Horn,Tuba - Level 3 - SKU: A0.802534 By Madeleine Peyroux. By Leonard Cohen. Arranged by Peet du Toit. Jazz. Score and...
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Small Ensemble Drum Set,Euphonium,Horn,Tuba - Level 3 - SKU: A0.802534 By Madeleine Peyroux. By Leonard Cohen. Arranged by Peet du Toit. Jazz. Score and parts. 23 pages. Peet du Toit #5770405. Published by Peet du Toit (A0.802534). This Greek dance was inspired by the Holocaust, the death camps, the cremation, the cries, the fate... In some of those camps, prisoner musicians had to play classical music to their fellow inmates on the latter's way to death - no return... until the musician had to follow suit. Unlike Nearer my God, to Thee on the Titanic, these musicians were forced to do this. I became so emotionally involved in this arrangement... every sequence has a meaning: the high cries of the women and the children (flügelhorns), the low voices of the concern and physically defeated men (euphonium & french horn), the sirens (french horn), the promise of eternity (euph solo), the tuba (the continuous beat of walking towards one's death) and the perpetual percussion (the clock is ticking...) and the cyclical theme of endless love against all odds, remembering the good times in a dance with your loved one(s). Yours.
$24.00 ≈
¥174.26
Morango ... almost a tango, full score
Morango ... almost a tango, full score
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Tango
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Thomas Oboe Lee
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Morango ... almost a tango, fu
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Thomas Oboe Lee
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.869118 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin. Score and parts. 16 pages. T...
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String Quartet String Quartet - Level 4 - SKU: A0.869118 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin. Score and parts. 16 pages. Thomas Oboe Lee #1914305. Published by Thomas Oboe Lee (A0.869118). Morango ... almost a tango (1983) is the most popular piece of music from my portfolio of over 150 works!!! It is amazing that the work was conceived thirty years ago!!! Originally, it was just a 32-bar jazz tune I performed every Sunday night with the Moon Unit at the 1369 Jazz Club in Cambridge, Massachusetts, 1980-1984. The string quartet version, although written for the Kronos Quartet, was premiered at Concert X by the Composers in Red Sneakers in Sanders Theater, Cambridge, Massachusetts, on July 21, 1983. The Red Sneakers String Quartet comprised of Thal Aylward, Melissa Howe, Frank Grimes and Sandy Kiefer. Richard Buell reported in the Boston Globe a few days later that the doleful Morango ... almost a tango got a lot of mileage out of a stubborn, almost unchanging cello line and the elaborations above it. The original program note read, Last summer in Vermont I met Gustavo Moretto, an Argentine composer, who taught me the finer and more beautiful aspects of the Tango. In my modest way, as someone looking in from the outside, I created Morango ... almost a tango - a bastardized version of the 'real thing.' Morango ... is also intrinsically connected to Kate Moran, a sometimes painter ... to whom it is dedicated. The work is played con sordino throughout. I hope the sirens next door don't intrude too much. But then again, John Cage would be delighted. Eventually, the Kronos got around to performing it on tour in Europe in 1986. When they played it as an encore in Italy at the American Academy in Rome, Mya Tannenbaum of the Corriere Della Sera wrote, Non sono mancati i bis. Un richiamo al sex appeal del vecchio tango da parte di un giovane «premio Roma», Tom Lee. Soon after, back in the States, the Kronos performed it at the Brooklyn Academy of Music in New York. John Rockwell wrote in the New York Times, ... a soulfully beautiful score by Thomas Oboe Lee. Three months later the Kronos recorded it on their Nonesuch CD, White Man Sleeps. Many other string quartets, both here and abroad, have since added the work to their repertory. The Lydian String Quartet, especially, have taken the work on their concert tours in the United States, Europe and the former Soviet Union. It appears on a CD recorded by the Lyds in Moscow on MCA Classics. As interest in the work grew, other ensembles have requested arrangements of Morango ... There are now three other versions of the work: one for big band jazz ensemble by Ken Schaphorst, another for string orchestra commissioned by Aram Gharabekian and Sinfonova, and the third for violin and piano commissioned by the Paul Chou-Paul Salerni Duo. Of the string orchestra version, Richard Dyer of the Boston Globe wrote, Lee's piece, Morango ... almost a tango, is a transcription of atmospheric and elegant music originally composed for string quartet; it is as sultry as Faith Domergue in a film noir, and it steams. Audio link: https://thomasoboelee.bandcamp.com/album/morango-almost-a-tango-1983Video link: https://youtu.be/Ksd9mDtRSBU
$9.99 ≈
¥72.53
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
¥174.18
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Siren's Call
