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Vous avez sélectionné:
Theme From Spectrum
Partitions à imprimer
22 partitions trouvées
<
1
Fantasy on themes from Verdi's opera "La Traviata"
Fantasy on themes from Verdi's opera "La Traviata"
#
Harpe
#
Anna-Maria Ravnopolska-Dean
#
Fantasy on themes from Verdi's
#
Arpa d'Oro
#
SheetMusicPlus
Pedal Harp - SKU: A0.1493483 By Anna-Maria Ravnopolska-Dean. By Anna-Maria Ravnopolska-Dean. Opera,Romantic Period. Score. 22 pages. Arpa d'Oro #1070130...
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Pedal Harp - SKU: A0.1493483 By Anna-Maria Ravnopolska-Dean. By Anna-Maria Ravnopolska-Dean. Opera,Romantic Period. Score. 22 pages. Arpa d'Oro #1070130. Published by Arpa d'Oro (A0.1493483). This fantasy is a romantic work based on the opera La Traviata, one of Verdi's masterpieces.It uses the great capabilities of the harp to show the emotions provoked in the main moments of the opera.The main arias are modified through the harp spectrum. The whole composition follows my interpretation of the opera,my way of thinking and logic. The original themes are modified and combined with my own themes, transitions , and Cadenzas.I combine the two of the most important tunes in the opera: Libiamo and Addio del'passato. Tha most significant thing for me is that they show two very important and contrasting moments in Violeta's life: wnen she falls in love and is happy, and when she senses the near approach of death. I recorded a CD with different opera fantasies, and this inspired me to compose my fantasy on La Traviata. Enjoy!
$39.99 ≈
35.81€
Red (from the song cycle 'Spectrum')
Red (from the song cycle 'Spectrum')
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Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Sally Whitwell
#
Red
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Sally Whitwell
#
SheetMusicPlus
Choral Choir (SATB divisi) - Level 4 - SKU: A0.1167220 Composed by Sally Whitwell. Classical,Contemporary. Octavo. 17 pages. Sally Whitwell #767597. Pub...
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Choral Choir (SATB divisi) - Level 4 - SKU: A0.1167220 Composed by Sally Whitwell. Classical,Contemporary. Octavo. 17 pages. Sally Whitwell #767597. Published by Sally Whitwell (A0.1167220). As a composer, I feel I always need to be working on something. Even if it's not for a commission, I like to work on my skills, on my composing craft, on keeping the creative ideas flowing. So occasionally I set myself assignments of a sort, which is how this song cycle Spectrum came to me. I set myself the task of interpreting the colours of the rainbow pride flag. Because I am so gay. The cycle is not actually LGBTQIA+ themed in its subject matter as such, the flag was jut a kind of framework for my creativity.In the intervening years since the cycle was first conceived, the LGBTQIA+ community has embraced a new flag, the Progress Pride Flag, which will give me a few more colours to interpret and add to the original cycle.This song Red was inspired by an animated video of red blood cells coursing down an artery.
$1.99 ≈
1.78€
Yellow Rain (from the song cycle 'Spectrum')
Yellow Rain (from the song cycle 'Spectrum')
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Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Sally Whitwell
#
Yellow Rain
#
Sally Whitwell
#
SheetMusicPlus
Choral Choir (SATB divisi) - Level 4 - SKU: A0.1167223 Composed by Sally Whitwell. Classical,Contemporary. Octavo. 13 pages. Sally Whitwell #767600. Pub...
(+)
Choral Choir (SATB divisi) - Level 4 - SKU: A0.1167223 Composed by Sally Whitwell. Classical,Contemporary. Octavo. 13 pages. Sally Whitwell #767600. Published by Sally Whitwell (A0.1167223). As a composer, I feel I always need to be working on somethinng. Even if it's not for a commission, I like to work on my skills, on my composing craft, on keepng the creative ideas flowing. So occasionally, I set myself assignments of a sort, which is how this song cycle Spectrum came to be. I set myself the task of interpreting the colours of the rainbow pride flag. Because I am so gay. The cycle is not actually LGBTQIA+ themed in its subject matter as such, the flag was just a kind of framework for my creativity.In thje intervening years since the cycle was first conceived, the LGBTQIA+ community has embraced a new flag, the Progress Pride FLag, which will give me a few more colours to interpret and add to the original cycle.Thie song Yellow Rain is a setting of a joyous poem by Monique Duval about getting caught in a sun shower on the beach.
$1.99 ≈
1.78€
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne a
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
(+)
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00 ≈
6.27€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
#
Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
'A golden time ...' from Ariad
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
(+)
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00 ≈
6.27€
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
#
INTERMÉDIAIRE
#
Classique
#
Richard Strauss
#
Rod Whittle
#
Excerpt from the Last Part of
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00 ≈
6.27€
Overture from Ariadne auf Naxos
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00 ≈
6.27€
Theme From Spectrum by Mario Lombardo - French Horn Part
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Cor (partie séparée)
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Contemporain
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Classique
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Mario Lombardo
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Theme From Spectrum
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Musicnotes
Mario Lombardo - Theme From Spectrum - (for Trumpet, French Horn and Piano) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloa...
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Mario Lombardo - Theme From Spectrum - (for Trumpet, French Horn and Piano) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Part, instruments: French Horn; 1 pages -- Classical~~20th-Century
$3.99 ≈
3.57€
Theme From Spectrum by Mario Lombardo - Bb Trumpet Part
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Trompette (partie séparée)
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Contemporain
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Classique
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Mario Lombardo
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Theme From Spectrum
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Musicnotes
Mario Lombardo - Theme From Spectrum - (for Trumpet, French Horn and Piano) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloa...
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Mario Lombardo - Theme From Spectrum - (for Trumpet, French Horn and Piano) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Instrumental Part, instruments: Bb Trumpet; 1 pages -- Classical~~20th-Century
$3.99 ≈
3.57€
Theme From Spectrum by Mario Lombardo - Duet+Accompaniment
Duet Accompaniment
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Contemporain
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Classique
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Mario Lombardo
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Theme From Spectrum
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Musicnotes
Mario Lombardo - Theme From Spectrum - (for Trumpet, French Horn and Piano) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloa...
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Mario Lombardo - Theme From Spectrum - (for Trumpet, French Horn and Piano) Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Duet+Accompaniment, instruments: Trumpet;French Horn;Piano Accompaniment; 7 pages -- Classical~~20th-Century
$5.25 ≈
4.70€
DREAMS OF THE ORIENT
DREAMS OF THE ORIENT
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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ROBERT VAN HORNE
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DREAMS OF THE ORIENT
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White Piano International Publishing
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1415780 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Film/TV,Instructional,Multicultural,New Age,Romantic Period,World. Scor...
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Piano Solo - Level 4 - SKU: A0.1415780 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Film/TV,Instructional,Multicultural,New Age,Romantic Period,World. Score. 7 pages. White Piano International Publishing #993517. Published by White Piano International Publishing (A0.1415780). DREAMS OF THE ORIENT (Original Piano Music) from “CHINA LOVEâ€Composed and Arranged by Robert Van Horne in 1993Advanced Intermediate Piano Solo 7 pagesDuration approximately 4:30In 1987, while living in Singapore, I set out with the goal of crafting an album comprising ten piano pieces evoking the essence of Chinese music, aptly named “CHINA LOVE.â€DREAMS OF THE ORIENT encapsulates my vivid encounters while voyaging through the Far East aboard the cruise ship MS PEARL OF SCANDINAVIA a few years earlier. Immersed in diverse cultural experiences, particularly those of China and Asia, I gained profound insights into their music and traditions, memories I hold dear to this day.The sheet music for DREAMS OF THE ORIENT is meticulously notated, featuring detailed instructions on dynamics, articulation, phrasing, pedal usage, chord symbols, suggested fingerings, and other musical nuances essential for performance.This arrangement caters to a broad spectrum of musicians, including advanced intermediate students, professional pianists, and piano instructors, offering a rewarding musical exploration.Although this mp3 audio sample featuring additional background instruments remains incomplete, the full rendition of DREAMS OF THE ORIENT can be enjoyed on Robert’s “CHINA LOVE†album.Furthermore, for those seeking an EARLY INTERMEDIATE PIANO arrangement of the entire collection, titled TEN MUSICAL THEMES FROM CHINA LOVE, it can be obtained at: SHEET MUSIC PLUS SHEET MUSIC DIRECTPublished by White Piano International PublishingRobert is a member of ASCAPWebsite: www.robertvanhorne.comEmail: rvh@robertvanhorne.com.
$2.99 ≈
2.68€
Theme From Spectrum by Mario Lombardo - Solo & Accompaniment
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Cor et Piano
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Contemporain
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Classique
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Mario Lombardo
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Theme From Spectrum
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Musicnotes
False Digital sheetmusic collection - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Solo & Accompa...
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False Digital sheetmusic collection - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Solo & Accompaniment, instruments: French Horn;Piano Accompaniment;Trumpet -- Classical~~20th-Century
$8.14 ≈
7.29€
Mysterium Tremendum
Mysterium Tremendum
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Robert Myers
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Mysterium Tremendum
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WheatMyer Music
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SheetMusicPlus
Small Ensemble Multi-Percussion,Organ,Timpani - Level 4 - SKU: A0.976702 Composed by Robert Myers. Christian,Contemporary,Sacred. Score and parts. 65 pa...
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Small Ensemble Multi-Percussion,Organ,Timpani - Level 4 - SKU: A0.976702 Composed by Robert Myers. Christian,Contemporary,Sacred. Score and parts. 65 pages. WheatMyer Music #3506367. Published by WheatMyer Music (A0.976702). MYSTERIUM TREMENDUM is an instrumental doxology (Trinitarian hymn of praise) with unique leitmotifs of adoration and praise for each member of the Trinity. God the Father is portrayed in unisons and octaves symbolizing His perfections; God the Son is portrayed in descending perfect fourths and fifths along with tritones displaying His complete divinity along with being a man of sorrows; God the Holy Spirit is set in free-flowing lines combining elements of both prior motives as if emanating from the Father and the Son.MYSTERIUM TREMENDUM features Organ and Timpani , requiring competent musicians on both instruments, but includes characteristic and unusual colors and accents from across the percussion family. It is a moderately large work allowing development of each theme in a broad spectrum of expressions from each instrument. The work climaxes on a reharmonized quotation from the tune NICEA, better known as Holy, Holy, Holy, expressing worship of the Godhead as blessed trinity. MYSTERIUM TREMENDUM is suitable for the concert stage or for instrumental worship.The sheet music package contains a full score and separate parts for organ, timpani, and percussion. The timpani and percussion parts include an organ reduction for coordination among players. Thus, the piece may be either conducted or performed as an independent ensemble.Find more music at https://wheatmyermusic.com/portfolio/ and my Facebook page: https://www.facebook.com/WheatMyerMusic/
$14.99 ≈
13.42€
Airpower! (for Brass Quintet & Optional Percussion)
Airpower! (for Brass Quintet & Optional Percussion)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Dr
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Airpower!
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https://gildedmusicpress.com/
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1158198 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical. 28 pages. Https://gildedmusicp...
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Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1158198 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical. 28 pages. Https://gildedmusicpress.com/ #758475. Published by https://gildedmusicpress.com/ (A0.1158198). An extremely artistic and challenging composition, fit to feature on any concert, both for the general public and academic circles, Airpower! is cleverly titled to honor MSgt Alex Serwatowski, an Air Force tuba player, upon his retirement. Overall, “Airpower!†is light-hearted with a comedic but dignified feel, intended to be happy and celebratory. There are moments of a more serious nature, such as the transitions in measures 19-22 and 74-77, and a slower contemplative section (51-68) with a particularly dramatic moment in measures 55-56, where the listener wants to rise up with honor and respect. There is a healthy spectrum of emotions in this work. One remarkable feature of this composition is that it does not end in the same key in which it starts. In fact, it ends in D major, a tritone away from its opening key of A-flat major—as distantly related as two keys can be. Throughout the entire piece, the harmonic rhythm is intense, primarily exploring chromatic mediants and relative keys, wandering from A-flat to C to F to D minor and then several rapid tonicizations leading to G major, then to E minor to E major to G, E-flat, C minor, C major, A minor, tonicizations again, finally ending in D major. Although it is highly unified thematically (with essentially one theme that varies and develops, symbolically), this unique harmonic feature symbolizes the change that a person undergoes through a 23-year career. “Airpower!†is about 4’30†in duration, which is a fairly substantial single-movement work for brass quintet. The tempo never varies through the entire work, though with rhythmic augmentation and mutation the effect of tempo changes is present. The technical demands are difficult for all the players. This piece works the tuba into the melody and technical passages as much as any other player.
$24.95 ≈
22.34€
Sposalizio
Sposalizio
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Orgue
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Classique
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Franz Liszt
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Edwin H
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Sposalizio
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Schott Music - Digital
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SheetMusicPlus
Organ - SKU: S9.Q7303 From Années de Pélerinage. Composed by Franz Liszt. Arranged by Edwin H. Lemare. This edition: Sheet music. Schott Ar...
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Organ - SKU: S9.Q7303 From Années de Pélerinage. Composed by Franz Liszt. Arranged by Edwin H. Lemare. This edition: Sheet music. Schott Archive. Downloadable. Schott Music - Digital #Q7303. Published by Schott Music - Digital (S9.Q7303). The excellent quality of Schott music editions has made the company one of the leading music publishers in the world ever since it was founded in 1770. Over its long history Schott has published several hundred thousand titles and built up one of the largest publishing archives in existence. This includes music for many different combinations of voices and instruments and works by great and lesser composers, too, all with one thing in common: they are a musical reflection of their time and a historical document of their age. The spectrum ranges from classical chamber music and Romantic virtuoso compositions to historical tutorial books for instrumentalists, from arrangements of symphonic works for piano duet to popular sets of variations on operatic themes for various string and wind instruments - with a particular focus on the music of the 19th Century. Treasures that have been preserved through several wars are now being made available to the public again under the name Schott Archive. The musical notation and the substance of these unique creations are reproduced without alteration to offer reprints of historical editions faithful to the orginal documents.
$9.99 ≈
8.95€
Angelus
Angelus
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Orgue
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Classique
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Franz Liszt
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Fritz Volbach
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Angelus
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Schott Music - Digital
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SheetMusicPlus
Organ - SKU: S9.Q7302 Prière aux Anges Gardiens. Composed by Franz Liszt. Arranged by Fritz Volbach. This edition: Sheet music. Schott Archive...
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Organ - SKU: S9.Q7302 Prière aux Anges Gardiens. Composed by Franz Liszt. Arranged by Fritz Volbach. This edition: Sheet music. Schott Archive. Downloadable. Schott Music - Digital #Q7302. Published by Schott Music - Digital (S9.Q7302). The excellent quality of Schott music editions has made the company one of the leading music publishers in the world ever since it was founded in 1770. Over its long history Schott has published several hundred thousand titles and built up one of the largest publishing archives in existence. This includes music for many different combinations of voices and instruments and works by great and lesser composers, too, all with one thing in common: they are a musical reflection of their time and a historical document of their age. The spectrum ranges from classical chamber music and Romantic virtuoso compositions to historical tutorial books for instrumentalists, from arrangements of symphonic works for piano duet to popular sets of variations on operatic themes for various string and wind instruments - with a particular focus on the music of the 19th Century. Treasures that have been preserved through several wars are now being made available to the public again under the name Schott Archive. The musical notation and the substance of these unique creations are reproduced without alteration to offer reprints of historical editions faithful to the orginal documents.
$9.99 ≈
8.95€
Fugen und Vorspiele
Fugen und Vorspiele
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Orgue
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Friedrich Kuehmstedt
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Fugen und Vorspiele
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Schott Music - Digital
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SheetMusicPlus
Organ - SKU: S9.Q6987 Composed by Friedrich Kuehmstedt. This edition: Sheet music. Schott Archive. Downloadable. Op. 19. Schott Music - Digital #Q6987. ...
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Organ - SKU: S9.Q6987 Composed by Friedrich Kuehmstedt. This edition: Sheet music. Schott Archive. Downloadable. Op. 19. Schott Music - Digital #Q6987. Published by Schott Music - Digital (S9.Q6987). The excellent quality of Schott music editions has made the company one of the leading music publishers in the world ever since it was founded in 1770. Over its long history Schott has published several hundred thousand titles and built up one of the largest publishing archives in existence. This includes music for many different combinations of voices and instruments and works by great and lesser composers, too, all with one thing in common: they are a musical reflection of their time and a historical document of their age. The spectrum ranges from classical chamber music and Romantic virtuoso compositions to historical tutorial books for instrumentalists, from arrangements of symphonic works for piano duet to popular sets of variations on operatic themes for various string and wind instruments - with a particular focus on the music of the 19th Century. Treasures that have been preserved through several wars are now being made available to the public again under the name Schott Archive. The musical notation and the substance of these unique creations are reproduced without alteration to offer reprints of historical editions faithful to the orginal documents.
$13.99 ≈
12.53€
Three Chromicons for piano solo
Three Chromicons for piano solo
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Joseph Dillon Ford
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Three Chromicons for piano sol
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David Warin Solomons
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 2...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Joseph Dillon Ford. 21st Century, Contemporary Classical, Impressionistic. Score. 22 pages. Published by David Warin Solomons
The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.
The sound sample is the live performance.
The Three Chromicons were premiered by pianist Valentin Bogolubov at the Socit de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).
Ford explains the significance of these unique scores:
"In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chrma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."
"By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."
"Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."
"Now, anyone wishing to realize a chromicon is at liberty to follow any path?straight or curvilinear?from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."
"Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."
Video of Chromicon III
https://www.youtube.com/watch?v=VHMw-vzZlGE
$12.00 ≈
10.75€
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Theme From Spectrum
