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Vous avez sélectionné:
The Final Episode
Partitions à imprimer
137 partitions trouvées
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The Final Episode (let's Change The Channel)
The Final Episode (let's Change The Channel)
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Batterie
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INTERMÉDIAIRE/AVANCÉ
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Rock
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Asking Alexandria
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Cyril Mayer
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The Final Episode
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Cyril Mayer
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SheetMusicPlus
Drums - Level 4 - SKU: A0.1152124 By Asking Alexandria. By Benjamin Paul Bruce, Danny Robert Worsnop, and James Arthur Cassells. Arranged by Cyril Mayer...
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Drums - Level 4 - SKU: A0.1152124 By Asking Alexandria. By Benjamin Paul Bruce, Danny Robert Worsnop, and James Arthur Cassells. Arranged by Cyril Mayer. Rock. Score. 3 pages. Cyril Mayer #752337. Published by Cyril Mayer (A0.1152124). The Final Episode - Asking Alexandria - Drum Transcript.
$4.99 ≈
4.47€
Symphony No. 4 "Homage to Beethoven", op. 21a, after his sketches for the Tenth Symphony
Symphony No. 4 "Homage to Beethoven", op. 21a, after his sketches for the Tenth Symphony
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Orchestre
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Symphony No. 4 "Homage to
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1004734 Composed by Adrian Gagiu. 20th Century,Classical. Score and parts. 524 pages. Adrian Gagiu #6631587. Publishe...
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Full Orchestra - Level 5 - SKU: A0.1004734 Composed by Adrian Gagiu. 20th Century,Classical. Score and parts. 524 pages. Adrian Gagiu #6631587. Published by Adrian Gagiu (A0.1004734). Fourth Symphony in E flat major Homage to Beethoven (2003, revised 2021), a Neo-Classical symphony based on Beethoven's sketches for his Tenth Symphony, like a speculative reconstruction. In 1822-1827, the fascinating Tenth Symphony (Biamonti 838) was one of Beethoven’s relatively advanced projects, but still it was at the beginning of its elaboration. The material is not quite abundant, and many secondary features in the concept sketches could have been modified, according to his working habits, should he have lived a few years more. For a true reconstruction, the sketches are too scarce, but they are also too good to be left aside and very stimulating for a composer, especially for one whose formation is indebted to Beethoven and who is willing to pay him homage. I have chosen a Neo-Classical idiom, an approach analogous to Stravinsky’s The Fairy’s Kiss (after Tchaikovsky). For such a work, the thorough study of fundamental articles on Beethoven’s projects and sketches (by Barry Cooper, Sieghard Brandenburg, Robert Winter, Martin Staehelin, Nicholas Cook, and Lewis Lockwood) was a necessity. Then, in 2021, the symphony was heavily revised, mainly to make it terser and truer to the sketches and to Classical practices For this symphony, all the thematic material is Beethoven’s, and also the general outline, as much as the latter could be inferred from his sketches. In its revised version, I made use only of the sketches clearly identifiable as intended for the Tenth Symphony and dating from 1822 and later years (most of the themes of its corresponding movements), but also of a few other sketches, most of them contemporary or relatable, unused or intended for other compositions: in the continuation to the second subject group in the first movement, in the second strains of the Presto and of its Trio, and in the transitions and the episodes in the Finale. The symphony has 4 movements and is scored for a normal concert orchestra, including 3 trombones. The revised version makes use also of a contrabassoon, to support the double basses and suggesting a stronger presence of the winds like in the larger scale concerts in the Classical era (usually with doubled winds).Total duration: 34 min. Performing Rights Organization: SOCAN. The mp3 audio clip is a recording of the first movement (Andante-Allegro-Andante).
$49.95 ≈
44.73€
Star Trek - The Next Generation(R)
Star Trek - The Next Generation(R)
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Film/TV
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Alexander Courage, Gene Rodden
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Lorenzo Bocci
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Star Trek - The Next Generatio
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Lorenzo Bocci
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1475505 Composed by Alexander Courage, Gene Roddenberry, and Jerry Goldsmith. Arranged by Lorenzo Bocci. Film/TV. 68 pa...
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Concert Band - Level 3 - SKU: A0.1475505 Composed by Alexander Courage, Gene Roddenberry, and Jerry Goldsmith. Arranged by Lorenzo Bocci. Film/TV. 68 pages. Lorenzo Bocci #1053055. Published by Lorenzo Bocci (A0.1475505). STAR TREK®: The Next Generation - Theme From The Paramount Television Series Star Trek: The Next Generationfor Concert Band - Grade 3 - - More Star Trek MusicComposed by A. Courage, G. Roddenberry, J. Goldsmith. Arranged by Lorenzo Bocci. Film/TV. Concert Band - Blasorchester - Harmonie. Score and parts. Duration 1'56''. Published by Lorenzo Bocci.Instrumentation:Full Score, Flute 1, 2, Oboe, Bassoon, Eb Clarinet, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Eb Alto Saxophone 1, 2, Bb Tenor Saxophone 1, 2, Eb Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, Trombone 1, 2, Bass Trombone, Euphonium, Bass, Electric Bass, Drum Set.Additional Parts:Bb Soprano Saxophone, Eb Horn 1, 2, 3, Bb Trombone 1, 2 T.C., B.C., Bb Bass Trombone T.C., B.C., Bb Euphonium T.C., B.C., Bb Bass T.C., B.C., Eb Bass T.C., B.C.Star Trek: The Next Generation (TNG) is an American science fiction television series created by Gene Roddenberry. It originally aired from September 28, 1987, to May 23, 1994, in syndication, spanning 178 episodes over seven seasons. Set in the latter third of the 24th century, when Earth is part of the United Federation of Planets, it follows the adventures of a Starfleet starship, the USS Enterprise (NCC-1701-D), in its exploration of the Alpha quadrant and Beta quadrant in the Milky Way galaxy.Patrick Stewart's voice-over introduction during each episode's opening credits stated the starship's purpose:  Space: The final frontier. These are the voyages of the starship Enterprise. Its continuing mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before.It received many accolades, including 19 Emmy Awards, two Hugo Awards, one Peabody Award, and six Saturn Awards, including a Lifetime Achievement Award for the entire cast in 2024. In 2013, the Writers Guild of America ranked Star Trek: The Next Generation #79 on their list of the 101 Best Written TV Series, tying it with Upstairs, Downstairs, Monty Python's Flying Circus and Alfred Hitchcock Presents. Subscribe to my YouTube Channel to stay updated on new releases.
$94.00 ≈
84.18€
Dexter Theme
Dexter Theme
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Jakes Bejoy
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arr
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Dexter Theme
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.763110 By Jakes Bejoy. By Jakes Bejoy. Arranged by arr. by John Fries. Film/TV,Jazz,Standards. Lead Sheet / Fake Book. ...
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C Instrument - Level 4 - SKU: A0.763110 By Jakes Bejoy. By Jakes Bejoy. Arranged by arr. by John Fries. Film/TV,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #370784. Published by John Fries (A0.763110). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.  Dexter is an American crime drama television series that aired on Showtime from October 1, 2006, to September 22, 2013. The show has received myriad awards, including two Golden Globes won by Hall and John Lithgow for their roles as Dexter Morgan and Arthur Mitchell, respectively. Season four aired its season finale on December 13, 2009, to a record-breaking audience of 2.6 million viewers, making it the most-watched original series episode ever on Showtime at that time. In April 2013, Showtime announced that season eight would be the final season of Dexter. The season-eight premiere was the most watched Dexter episode with more than 3 million viewers total for all airings that night.
$3.99 ≈
3.57€
Dexter Theme
Dexter Theme
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Jakes Bejoy
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arr
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Dexter Theme
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.771557 By Jakes Bejoy. By Jakes Bejoy. Arranged by arr. by John Fries. Film/TV,Jazz,Standards. Lead Sheet / Fake Book. ...
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C Instrument - Level 4 - SKU: A0.771557 By Jakes Bejoy. By Jakes Bejoy. Arranged by arr. by John Fries. Film/TV,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #379199. Published by John Fries (A0.771557). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Dexter is an American crime drama television series that aired on Showtime from October 1, 2006, to September 22, 2013. The show has received myriad awards, including two Golden Globes won by Hall and John Lithgow for their roles as Dexter Morgan and Arthur Mitchell, respectively. Season four aired its season finale on December 13, 2009, to a record-breaking audience of 2.6 million viewers, making it the most-watched original series episode ever on Showtime at that time. In April 2013, Showtime announced that season eight would be the final season of Dexter. The season-eight premiere was the most watched Dexter episode with more than 3 million viewers total for all airings that night.
$3.99 ≈
3.57€
Dexter Theme
Dexter Theme
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Jakes Bejoy
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John Fries
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Dexter Theme
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.1009403 By Jakes Bejoy. By Jakes Bejoy. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Lead Sheet / Fake ...
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C Instrument - Level 4 - SKU: A0.1009403 By Jakes Bejoy. By Jakes Bejoy. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #615067. Published by John Fries (A0.1009403). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Dexter is an American crime drama television series that aired on Showtime from October 1, 2006, to September 22, 2013. The show has received myriad awards, including two Golden Globes won by Hall and John Lithgow for their roles as Dexter Morgan and Arthur Mitchell, respectively. Season four aired its season finale on December 13, 2009, to a record-breaking audience of 2.6 million viewers, making it the most-watched original series episode ever on Showtime at that time. In April 2013, Showtime announced that season eight would be the final season of Dexter. The season-eight premiere was the most watched Dexter episode with more than 3 million viewers total for all airings that night.
$3.99 ≈
3.57€
Sit Down You're Rockin' The Boat
Sit Down You're Rockin' The Boat
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Orchestre d'harmonie
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FACILE
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Guys And Dolls Cast
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John Ivor Holland
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Sit Down You're Rockin' The Bo
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John Ivor Holland
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.1394389 By Guys And Dolls Cast. By Frank Loesser. Arranged by John Ivor Holland. 20th Century,Broadway,Film/TV,Musical/...
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Concert Band - Level 2 - SKU: A0.1394389 By Guys And Dolls Cast. By Frank Loesser. Arranged by John Ivor Holland. 20th Century,Broadway,Film/TV,Musical/Show,Pop,Standards. 74 pages. John Ivor Holland #977871. Published by John Ivor Holland (A0.1394389). Sit Down, You're Rockin' the Boat is a song written by Frank Loesser and introduced in the Broadway musical, 'Guys and Dolls', which opened at the 46th Street Theatre on November 24, 1950. In the context of the show, gambler Nicely-Nicely Johnson invents a dream about being saved from hell in order to bring together the members of the prayer meeting. It was originally performed on stage by Stubby Kaye who later reprised his role as Nicely-Nicely Johnson in the 1953 London production, as well as the 1955 film version. In popular culture, the song was performed in the pilot episode of the show 'Glee' in 2009, and then redone in the season 3 finale, Goodbye as well as making appearances on various TV shows and films. When performed on-stage, it's usual that this is the song that gets multiple encores, so get ready to potentially play it several times in a concert!
$49.99 ≈
44.77€
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 ≈
21.48€
Episode
Episode
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Francis Bayer
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Episode
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Schott Music - Digital
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SheetMusicPlus
2 pianos, marimba and vibraphone - difficult - SKU: S9.Q16497 Composed by Francis Bayer. This edition: set of parts. A battere. Downloadable, Set of par...
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2 pianos, marimba and vibraphone - difficult - SKU: S9.Q16497 Composed by Francis Bayer. This edition: set of parts. A battere. Downloadable, Set of parts. Schott Music - Digital #Q16497. Published by Schott Music - Digital (S9.Q16497). The Paris based former student of Dutilleux begins this piece in an atonal vein, full of tense contrasts, which gradually changes to arrive at a modal, atmospheric calm in the final section. The piece starts with a duet between the first piano and the marimba and finishes with a duet between the second piano and the vibraphone, the middle section is played by all instruments in varying combinations. Playing instructions in German and French.
$55.99 ≈
50.14€
Four Episodes (for viola)
Four Episodes (for viola)
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Alto seul
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AVANCÉ
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Brandon Nelson
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Four Episodes
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Brandon Nelson
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SheetMusicPlus
Viola Solo - Level 5 - SKU: A0.912917 Composed by Brandon Nelson. Concert,Contemporary. Individual part. 7 pages. Brandon Nelson #1998627. Published by ...
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Viola Solo - Level 5 - SKU: A0.912917 Composed by Brandon Nelson. Concert,Contemporary. Individual part. 7 pages. Brandon Nelson #1998627. Published by Brandon Nelson (A0.912917). A set of intriguing, contrasting miniatures for unaccompanied viola. Aimed at higher level players, this piece is ideal for any concert or recital setting. The first in this set, from darkness, rising, is a lyric caprice which gradually moves from darker modes to brighter modes (locrian to lydian). The next selection, Eidólons, has a veiled, mysterious quality. In this piece, I explore variations based on rhythmic alteration. An eidólon is a spirit or phantasm; the term was a favorite of American poet Walt Whitman. The third entry, Homeostatic, is built upon a concept I refer to as biofeedback music. In this case, I took regularly-spaced readings of my pulse rate and blood oxygen saturation percentage and performed basic arithmetic operations on these figures, the results of which I used to determine a number of musical facets (most notably the essential constituents of the rhythmic gestures). The final piece, Sapta Bodhyanga, I built on a wedge concept (in this case, seven intervals, each becoming larger, ending with the octave). The number seven also features prominently in the design of the rhythmic motives (with chance procedures used in the deployment of these figures). Given the concentration on this number and the use of aleatoric methods, I titled this piece after the Zen Buddhist concept sapta-bodhyang, or seven degrees of enlightenment.
$8.99 ≈
8.05€
Four Episodes (solo tenor sax)
Four Episodes (solo tenor sax)
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Saxophone Tenor
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AVANCÉ
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Brandon Nelson
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Four Episodes
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Brandon Nelson
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SheetMusicPlus
Tenor Saxophone Solo - Level 5 - SKU: A0.912916 Composed by Brandon Nelson. Concert,Contemporary. Individual part. 7 pages. Brandon Nelson #1998629. Pub...
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Tenor Saxophone Solo - Level 5 - SKU: A0.912916 Composed by Brandon Nelson. Concert,Contemporary. Individual part. 7 pages. Brandon Nelson #1998629. Published by Brandon Nelson (A0.912916). An ideal piece to showcase high level playing with intriguing, colorful music. Appropriate for any concert or recital setting. The first in this set, from darkness, rising, is a lyric caprice which gradually moves from darker modes to brighter modes (locrian to lydian). The next selection, Eidólons, has a veiled, mysterious quality. In this piece, I explore variations based on rhythmic alteration. An eidólon is a spirit or phantasm; the term was a favorite of American poet Walt Whitman. The third entry, Homeostatic, is built upon a concept I refer to as biofeedback music. In this case, I took regularly-spaced readings of my pulse rate and blood oxygen saturation percentage and performed basic arithmetic operations on these figures, the results of which I used to determine a number of musical facets (most notably the essential constituents of the rhythmic gestures). The final piece, Sapta Bodhyanga, I built on a wedge concept (in this case, seven intervals, each becoming larger, ending with the octave). The number seven also features prominently in the design of the rhythmic motives (with chance procedures used in the deployment of these figures). Given the concentration on this number and the use of aleatoric methods, I titled this piece after the Zen Buddhist concept sapta-bodhyang, or seven degrees of enlightenment. Learn more about me at bnelsonmusic.wordpress.com.
$8.99 ≈
8.05€
Symphony No. 3 in A minor, op. 17 (parts)
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00 ≈
188.07€
Symphony No. 3 in A minor, op. 17
Symphony No. 3 in A minor, op. 17
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Orchestre
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00 ≈
188.07€
Undertale Complete Piano Score - Sheet Music from the game UNDERTALE
Undertale Complete Piano Score - from the game UNDERTALE
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Piano Facile
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FACILE
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Jeux Videos
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Toby Fox
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David Peacock
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Undertale Complete Piano Score
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Materia Editions
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SheetMusicPlus
Composed by Toby Fox. Arranged by David Peacock. Video Games. 209 pages. Published by Materia Editions...
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Composed by Toby Fox. Arranged by David Peacock. Video Games. 209 pages. Published by Materia Editions
Digital piano sheet music for the UNDERTALE® Complete Piano Score. Contains all 101 songs from the UNDERTALE soundtrack! Yes, all.
200 pages, composed by Toby Fox, adapted by David Peacock.
Once Upon a Time
Start Menu
Your Best Friend
Fallen Down
Ruins
Uwa!! So Temperateand#9835;
Anticipation
Unnecessary Tension
Enemy Approaching
Ghost Fight
Determination
Home
Home (Music Box)
Heartache
sans.
Nyeh Heh Heh!
Snowy
Uwa!! So Holidayand#9835;
Dogbass
Mysterious Place
Dogsong
Snowdin Town
Shop
Bonetrousle
Dating Start!
Dating Tense!
Dating Fight!
Premonition
Danger Mystery
Undyne
Waterfall
Run!
Quiet Water
Memory
Bird That Carries You Over A Disproportionately Small Gap
Dummy!
Pathetic House
Spooktune
Spookwave
Ghouliday
Chill
Thundersnail
Temmie Village
Tem Shop
NGAHHH!!
Spear of Justice
Ooo
Alphys
It's Showtime!
Metal Crusher
Another Medium
Uwa!! So HEATS!!and#9835;
Stronger Monsters
Hotel
Can You Really Call This A Hotel, I Didn't Receive A Mint On My Pillow Or Anything
Confession
Live Report
Death Report
Spider Dance
Wrong Enemy !?
Oh! One True Love
Oh! Dungeon
It's Raining Somewhere Else
CORE Approach
CORE
Last Episode!
Oh My...
Death By Glamour
For The Fans
Long Elevator
Undertale
Song That Might Play When You Fight Sans
The Choice
Small Shock
Barrier
Bergentrückung
ASGORE
You Idiot
Your Best Nightmare
Finale
An Ending
She's Playing Piano
Here We Are
Amalgam
Fallen Down (Reprise)
Don't Give Up
Hopes And Dreams
Burn In Despair!
SAVE The World
His Theme
Final Power
Reunited
Menu (Full)
Respite
Bring It In, Guys!
Last Goodbye
But The Earth Refused To Die
Battle Against A True Hero
Power Of "NEO"
MEGALOVANIA
Good Night
Produced by Materia Editions/Materia Collective. © 2019 Materia Collective LLC
$39.99 ≈
35.81€
Vichnaya Pamyat
Vichnaya Pamyat
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Various
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Rob Bushnell
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Vichnaya Pamyat
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RBMusic
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SheetMusicPlus
Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 2 - SKU: A0.752458 By Various. By Hildur Gudnadottir. Arranged by Rob Bushnell. Con...
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Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 2 - SKU: A0.752458 By Various. By Hildur Gudnadottir. Arranged by Rob Bushnell. Contemporary,Film/TV,Folk,Religious,Sacred. 17 pages. RBMusic #6506025. Published by RBMusic (A0.752458). In 1982, the Vladimir Ilyich Lenin Nuclear Power Plant started a series of tests to simulate an electrical power outage to help create procedures for maintaining the circulation of the reactor coolant for the 60-75 seconds needed until the back-up generators got to full power. This was key to ensure that the coolant pumps did not stop working; otherwise, it could lead to the core overheating or, worse, the core melting down. The first test was unsuccessful, and, after some modifications, the test was repeated in 1984 and 1985. On 25 April 1986, a fourth test was scheduled to take place at 1415hrs during a controlled power-down of one of the reactors. However, at 1400hrs, another regional power station went offline, causing the test to be delayed by 10-hours. With the well-prepared day and evening crews’ shifts over, the test was left to the unprepared night crew. Unbeknownst to them, safety systems and protocols had been disabled or ignored earlier in the day, power-output issues had left the reactor in an unstable condition and there were basic design flaws with the reactor when it was constructed. All of this led to an uncontrolled chain reaction and, at some point around 01:23:45 in the morning of 26 April 1986, explosions and a fire destroyed a reactor building of reactor number 4 at Chernobyl. Radioactive contamination was released into the surrounding areas, 100,000s of people were evacuated, a 30-kilometre exclusion zone was put in place and whilst, officially, only 31 people died from this disaster, it has been estimated that between 4,000 and 16,000 fatalities are related to the events of that day. The area is likely to be unsafe for the next 20,000 years. The soundtrack to the TV mini-series Chernobyl is by the Icelandic composer, Hildur Guðnadóttir. The music is made, almost entirely, from sounds that she recorded at a decommissioned Nuclear power plant in Lithuania, giving it a very raw quality. She says the show itself portrays the disaster with respect and realism, and I was adamant the score reflects this. I wanted to show the viewer how it would feel to be there, and to tell this story of fear, loss and, ultimately, human error. Vichnaya Pamyat translated to Memory Eternal in Ukrainian, but a better English equivalent would be Rest in Peace. It is a hymn used during Ukrainian Orthodox Christian church funerals and memorial services. Guðnadóttir’s arrangement is heard at the end of the final episode of the series. This arrangement is not in the original key and has been transposed to make it easier to play. A version in the original key is available, item number H0.1099667-SC004126925. The arrangement also includes alternative parts for tenor horn, treble-clef trombone/euphonium and tuba. A recording of the music from the original soundtrack can be found on YouTube: https://www.youtube.com/watch?v=4Poc3MF8GFk.
$13.99 ≈
12.53€
Vichnaya Pamyat
Vichnaya Pamyat
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Various
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Rob Bushnell
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Vichnaya Pamyat
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RBMusic
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SheetMusicPlus
Brass Ensemble Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - SKU: A0.752457 By Various. By Hildur Gudnadottir. Arranged by Ro...
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Brass Ensemble Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - SKU: A0.752457 By Various. By Hildur Gudnadottir. Arranged by Rob Bushnell. Contemporary,Film/TV,Folk,Sacred,Traditional. Score and parts. 17 pages. RBMusic #6504099. Published by RBMusic (A0.752457). In 1982, the Vladimir Ilyich Lenin Nuclear Power Plant started a series of tests to simulate an electrical power outage to help create procedures for maintaining the circulation of the reactor coolant for the 60-75 seconds needed until the back-up generators got to full power. This was key to ensure that the coolant pumps did not stop working; otherwise, it could lead to the core overheating or, worse, the core melting down. The first test was unsuccessful, and, after some modifications, the test was repeated in 1984 and 1985. On 25 April 1986, a fourth test was scheduled to take place at 1415hrs during a controlled power-down of one of the reactors. However, at 1400hrs, another regional power station went offline, causing the test to be delayed by 10-hours. With the well-prepared day and evening crews’ shifts over, the test was left to the unprepared night crew. Unbeknownst to them, safety systems and protocols had been disabled or ignored earlier in the day, power-output issues had left the reactor in an unstable condition and there were basic design flaws with the reactor when it was constructed. All of this led to an uncontrolled chain reaction and, at some point around 01:23:45 in the morning of 26 April 1986, explosions and a fire destroyed a reactor building of reactor number 4 at Chernobyl. Radioactive contamination was released into the surrounding areas, 100,000s of people were evacuated, a 30-kilometre exclusion zone was put in place and whilst, officially, only 31 people died from this disaster, it has been estimated that between 4,000 and 16,000 fatalities are related to the events of that day. The area is likely to be unsafe for the next 20,000 years. The soundtrack to the TV mini-series Chernobyl is by the Icelandic composer, Hildur Guðnadóttir. The music is made, almost entirely, from sounds that she recorded at a decommissioned Nuclear power plant in Lithuania, giving it a very raw quality. She says the show itself portrays the disaster with respect and realism, and I was adamant the score reflects this. I wanted to show the viewer how it would feel to be there, and to tell this story of fear, loss and, ultimately, human error. Vichnaya Pamyat translated to Memory Eternal in Ukrainian, but a better English equivalent would be Rest in Peace. It is a hymn used during Ukrainian Orthodox Christian church funerals and memorial services. Guðnadóttir’s arrangement is heard at the end of the final episode of the series. This arrangement is in the original key. A transposed version, making it easier to play, is available, item number H0.1100563-SC004126925. The arrangement also includes alternative parts for tenor horn, treble-clef trombone/euphonium and tuba. A recording of the music from the original soundtrack can be found on YouTube: https://www.youtube.com/watch?v=4Poc3MF8GFk.
$13.99 ≈
12.53€
String Quartet #3 - A Year in the Life
String Quartet #3 - A Year in the Life
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Greg Woodward
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String Quartet #3 - A Year in
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Greg Woodward
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.1460359 Composed by Greg Woodward. 21st Century,Chamber,Classical. 54 pages. Greg W...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.1460359 Composed by Greg Woodward. 21st Century,Chamber,Classical. 54 pages. Greg Woodward #1039292. Published by Greg Woodward (A0.1460359). My third string quartet is a playful and melodic work, encompassing a wide range of styles and moods with a high degree of thematic unity. The joyful, dance-like character of the opening eventually disintegrates into a moment of sorrow, before a pensive, introspective section with elements of Herrmann and Shostakovich. A grand crescendo leads to a huge A major chord (a reference to the Beatles' A Day In The Life) that gradually becomes more dissonant as it progresses underneath a constant high A pedal point in the first violin. A chant-like section featuring open fifths follows, before a driving, angular section in 5/4. This recurs a few times interspersed with some musical episodes before ushering in a majestic transformation of the earlier chant-like section. After this runs its course and dies out, a final section revisits the dance-like energy of the first section which borrows thematic material from all through the piece before speeding into a final jazzy major sixth pizzacato chord.This would make a good concert piece.Visit my YouTube page for more performances, arrangements and compositions.
$55.00 ≈
49.26€
Down to the Sea in Ships (from the NBC TV Film Project 20): Baritone B.C.
Down to the Sea in Ships (from the NBC TV Film Project 20): Baritone B.C.
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Orchestre d'harmonie
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Methodes
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0017528_BBC1 Baritone B.C.. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 page...
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Concert Band - SKU: AX.00-PC-0017528_BBC1 Baritone B.C.. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_BBC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_BBC1). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00 ≈
2.69€
Down to the Sea in Ships (from the NBC TV Film Project 20): Tuba
Down to the Sea in Ships (from the NBC TV Film Project 20): Tuba
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Orchestre d'harmonie
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Methodes
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0017528_TB1 Tuba. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 pages. Alfred ...
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Concert Band - SKU: AX.00-PC-0017528_TB1 Tuba. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_TB1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_TB1). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00 ≈
2.69€
Down to the Sea in Ships (from the NBC TV Film Project 20): Flute
Down to the Sea in Ships (from the NBC TV Film Project 20): Flute
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Orchestre d'harmonie
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Methodes
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0017528_F1 Flute. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfred ...
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Concert Band - SKU: AX.00-PC-0017528_F1 Flute. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_F1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_F1). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00 ≈
2.69€
Down to the Sea in Ships (from the NBC TV Film Project 20): Mallets
Down to the Sea in Ships (from the NBC TV Film Project 20): Mallets
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Orchestre d'harmonie
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Methodes
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0017528_M1 Mallets. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 4 pages. Alfre...
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Concert Band - SKU: AX.00-PC-0017528_M1 Mallets. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_M1). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00 ≈
2.69€
Down to the Sea in Ships (from the NBC TV Film Project 20): 3rd B-flat Cornet
Down to the Sea in Ships (from the NBC TV Film Project 20): 3rd B-flat Cornet
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Orchestre d'harmonie
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Methodes
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0017528_CO3 3rd B-flat Cornet. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 6 p...
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Concert Band - SKU: AX.00-PC-0017528_CO3 3rd B-flat Cornet. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 6 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_CO3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_CO3). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00 ≈
2.69€
Down to the Sea in Ships (from the NBC TV Film Project 20): 2nd Oboe
Down to the Sea in Ships (from the NBC TV Film Project 20): 2nd Oboe
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Orchestre d'harmonie
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Methodes
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0017528_O2 2nd Oboe. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfr...
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Concert Band - SKU: AX.00-PC-0017528_O2 2nd Oboe. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_O2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_O2). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00 ≈
2.69€
Down to the Sea in Ships (from the NBC TV Film Project 20): 2nd Trombone
Down to the Sea in Ships (from the NBC TV Film Project 20): 2nd Trombone
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Orchestre d'harmonie
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Methodes
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0017528_TN2 2nd Trombone. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 pages....
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Concert Band - SKU: AX.00-PC-0017528_TN2 2nd Trombone. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 7 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_TN2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_TN2). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00 ≈
2.69€
Down to the Sea in Ships (from the NBC TV Film Project 20): 4th F Horn
Down to the Sea in Ships (from the NBC TV Film Project 20): 4th F Horn
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Orchestre d'harmonie
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Methodes
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Robert Russell Bennett
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Kyle Glaser
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Down to the Sea in Ships
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0017528_H4 4th F Horn. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Al...
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Concert Band - SKU: AX.00-PC-0017528_H4 4th F Horn. Composed by Robert Russell Bennett. Arranged by Kyle Glaser. Instructional. Part. 8 pages. Alfred Music - Digital Sheet Music #00-PC-0017528_H4. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017528_H4). UPC: 038081507484.An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called Down to the Sea in Ships, utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean. The movements are titled; The Way of the Ship, Mists and Mystery, Songs of the Salty Air, Waltz of the Clipper Ships, and Finale, Introducing the S.S. Eagle March. This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00)Concert/Contest; Festival.
$3.00 ≈
2.69€
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The Final Episode
