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Vous avez sélectionné:
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Partitions à imprimer
28 partitions trouvées
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1
26
Seeking Zamfir
Seeking Zamfir
#
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
#
INTERMÉDIAIRE/AVANCÉ
#
Liz Sharma
#
Liz Sharma
#
Seeking Zamfir
#
Liz Sharma
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.1368492 Composed by Liz Sharma. Arranged by Liz Sharma. 21st Cen...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - SKU: A0.1368492 Composed by Liz Sharma. Arranged by Liz Sharma. 21st Century,Chamber,Classical. 12 pages. Liz Sharma #952840. Published by Liz Sharma (A0.1368492). After hearing a CD of Georg Zamfir, the Romanian Pan Pipe virtuoso, playing these traditional melodies, I arranged them for Wind Quintet, adding countermelodies & harmonies to make them work for 5 players.These melodies are really delightful, exciting & uplifting. If the individual parts do not appear, email lizsharmamusic@gmail.com & they will be sent by return.Unfortunately the only MP3 I can find at present is a version I made for oboe & strings, but at least you can hear the music, which I'm sure you'll enjoy.
$8.00 ≈
7.46€
Fanfare for an Occasion
Fanfare for an Occasion
#
Liz Sharma
#
Liz Sharma
#
they will be sent by return
#
Fanfare for an Occasion
#
Liz Sharma
#
SheetMusicPlus
Cornet,Trumpet - Level 5 - SKU: A0.1375165 Composed by Liz Sharma. Arranged by Liz Sharma. 21st Century,Classical. 4 pages. Liz Sharma #959778. Publishe...
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Cornet,Trumpet - Level 5 - SKU: A0.1375165 Composed by Liz Sharma. Arranged by Liz Sharma. 21st Century,Classical. 4 pages. Liz Sharma #959778. Published by Liz Sharma (A0.1375165). Fanfare for an Occasion is a lively rhythmic trio for 3 trumpets, suitable for any celebration. It is probably easier to read from 3 copies of the score, but if individual parts are required, email lizsharmamusic@gmail.com & they will be sent by return.
$6.00 ≈
5.60€
Calling
Calling
#
Quatuor de cuivres: 4 cors
#
AVANCÉ
#
Liz Sharma
#
Liz Sharma
#
taught the French Horn
#
Calling
#
Liz Sharma
#
SheetMusicPlus
French Horn Quartet Horn - Level 5 - SKU: A0.1366606 Composed by Liz Sharma. Arranged by Liz Sharma. 21st Century,Chamber,Classical. 12 pages. Liz Sharm...
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French Horn Quartet Horn - Level 5 - SKU: A0.1366606 Composed by Liz Sharma. Arranged by Liz Sharma. 21st Century,Chamber,Classical. 12 pages. Liz Sharma #950945. Published by Liz Sharma (A0.1366606). A quartet for 4 horns, written in memory of a friend, who played & taught the French Horn. The Four movements are :-Calling, Meditation, In Perpetual Motion, & BanterFor individual parts please email lizsharmamusic@gmail.com, & they will be sent by return.
$10.00 ≈
9.33€
Overture for Strings No. 3 - Score Only
Overture for Strings No. 3 - Score Only
#
Joseph Bologne, Chevalier de S
#
Robert Debbaut
#
Overture for Strings No. 3 - S
#
ROBERT DEBBAUT
#
SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1183534 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festiva...
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String Orchestra - Level 4 - SKU: A0.1183534 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 28 pages. ROBERT DEBBAUT #783207. Published by ROBERT DEBBAUT (A0.1183534). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,” or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour” [up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfonia”) in that they have an overall “A-B-A” form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.” As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.” Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99 ≈
9.32€
Overture for Strings No. 5 - Score Only
Overture for Strings No. 5 - Score Only
#
Joseph Bologne, Chevalier de S
#
Robert Debbaut
#
Overture for Strings No. 5 - S
#
ROBERT DEBBAUT
#
SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1183536 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festiva...
(+)
String Orchestra - Level 4 - SKU: A0.1183536 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 39 pages. ROBERT DEBBAUT #783209. Published by ROBERT DEBBAUT (A0.1183536). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,” or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour” [up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfonia”) in that they have an overall “A-B-A” form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.” As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.” Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99 ≈
9.32€
Overture for Strings No. 6 - Score Only
Overture for Strings No. 6 - Score Only
#
Orchestre à Cordes
#
INTERMÉDIAIRE/AVANCÉ
#
Joseph Bologne, Chevalier de S
#
Robert Debbaut
#
Overture for Strings No. 6 - S
#
ROBERT DEBBAUT
#
SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1183537 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festiva...
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String Orchestra - Level 4 - SKU: A0.1183537 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 57 pages. ROBERT DEBBAUT #783210. Published by ROBERT DEBBAUT (A0.1183537). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,” or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour” [up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfonia”) in that they have an overall “A-B-A” form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.” As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.” Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99 ≈
9.32€
Overture for Strings No. 4 - Score Only
Overture for Strings No. 4 - Score Only
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Joseph Bologne, Chevalier de S
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Robert Debbaut
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Overture for Strings No. 4 - S
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ROBERT DEBBAUT
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1183535 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festiva...
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String Orchestra - Level 4 - SKU: A0.1183535 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 34 pages. ROBERT DEBBAUT #783208. Published by ROBERT DEBBAUT (A0.1183535). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,” or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour” [up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfonia”) in that they have an overall “A-B-A” form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.” As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.” Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99 ≈
9.32€
Overture for Strings No. 2 - Score Only
Overture for Strings No. 2 - Score Only
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Joseph Bologne, Chevalier de S
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Robert Debbaut
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Overture for Strings No. 2 - S
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ROBERT DEBBAUT
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1183533 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festiva...
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String Orchestra - Level 4 - SKU: A0.1183533 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 43 pages. ROBERT DEBBAUT #783206. Published by ROBERT DEBBAUT (A0.1183533). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,” or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour” [up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfonia”) in that they have an overall “A-B-A” form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.” As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.” Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99 ≈
9.32€
Pitch Only - Bass Clef (Sight Reading Exercise Book)
Pitch Only - Bass Clef (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Pitch Only - Bass Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Pian...
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Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Piano,Timpani,Trombone,Tuba,Voice - Level 2 - SKU: A0.931838 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313621. Published by Dots and Beams (A0.931838). This book provides its user with a series of notes on a bass staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above and below the staff extend to the space just beyond the fourth ledger line. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls.As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years and still find a valuable way to use them.
$10.00 ≈
9.33€
Pitch Only - Treble Clef (Sight Reading Exercise Book)
Pitch Only - Treble Clef (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Pitch Only - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,O...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - SKU: A0.931837 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313613. Published by Dots and Beams (A0.931837). This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years.
$10.00 ≈
9.33€
Hope of the World 12: Your King Comes Riding - original song for SATB choir by Stephen R Dalrymple
Hope of the World 12: Your King Comes Riding - original song for SATB choir by Stephen R Dalrymple
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Stephen R Dalrymple
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Stephen R Dalrymple
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Hope of the World 12: Your Kin
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Stephen R Dalrymple
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.818371 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Sacr...
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Choral Choir (SATB) - Level 3 - SKU: A0.818371 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Sacred. Octavo. 32 pages. Stephen R Dalrymple #6709745. Published by Stephen R Dalrymple (A0.818371). Hope of the World: 12 Your King Comes Riding original song for SATB choir and piano by Stephen R Dalrymple (with optional parts for Shofar or Trumpet) sequenced by the composer music © 1999 Stephen R Dalrymple recording ℗ 2022 Stephen R Dalrymple presentation © 2022 Stephen R Dalrymple based on Zechariah 9, Psalm 118, and Matthew 21 ♫ Many of the predictions of Zechariah are futuristic, looking far ahead in history. There was no king of Judah in Zechariah’s day. The former exiles who had returned to Judah were under the authority of the Persians. Any king would have to be authorized by the higher secular authority. But Zechariah foresees a king who will enter Jerusalem, riding on a donkey. ♫ The choice of the animal here is important. The donkey is the beast of burden of the common man. (Analogous to an economic or dilapidated automobile.) Horses were primarily used by soldiers; something like a victor riding into town in a tank. Mules (Jewish law forbade the breeding of hybrid animals) were the choice of the wealthy. In Judea, they were evidently imported. David had Solomon ride into Jerusalem on his mule (something like a sports car.) But Zechariah sees Messiah will presenting Himself as king riding the transportation of the common person. On Psalm Sunday, about a week before Jesus’ death, the crowds quoted Zechariah 9 and Psalm 118 as Jesus offered Himself to the nation as king. ♫ Hope of the World is made of 2 suites of songs that present messianic prophecies from the Old Testament that are referenced in the New Testament. The first 8 songs center on the birth of Christ, the last 9, Christ’s life and passion. ♫ Includes 1) full score 2) SATB choir part on 2 staves 3) optional shofur part 4) optional trumpet part 5)full score for 10 inch tablet ♫ (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.).
$2.00 ≈
1.87€
Paul Wehage: To You for baritone, tenor saxophone and piano
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,St...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95 ≈
27.94€
Requiem
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward ...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting go”. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my door”. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean” of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdom”. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeterna”. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen” [“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning”] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben” [“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold”]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus” [“And my soul spread its wings wide. Flew through the still country as if homeward bound.”]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed” occupation with the “old” country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomer”. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99 ≈
52.24€
When the Saints Go Marching In (Mixed Level, 2 Pianos, 4 Hands Duet)
When the Saints Go Marching In (Mixed Level, 2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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FACILE
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Gospel Spirituel
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Musique Sacrée
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Sharon Wilson
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Sharon Wilson Music
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When the Saints Go Marching In
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565178 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson Music. Children,Folk,J...
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565178 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson Music. Children,Folk,Jazz,Sacred,Spiritual. Score. 12 pages. Sharon Wilson #3519273. Published by Sharon Wilson (A0.565178). This arrangement of the traditional spiritual When the Saints Go Marching In is presented here as a mixed level duet for two pianos, four hands. The PIANO 1 is the easier part (early-intermediate) and the PIANO 2 is slightly more challenging, though still only at the intermediate level. Both PIANO parts carry the melody at times beginning with PIANO 1 for the verse. Quick-paced and bright, this dual piano duet is an ideal selection for a church setting.The purchase price includes a 5-page score with combined PIANO 1 and PIANO 2 parts on each page (the grand staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (3 pages each). Duration is just under 1-1/2 minutes. This arrangement is one of the 5 spirituals in the collection Five Joyful Tunes for Two Pianos.This song has numerous verses and varying lyrics, most of which reference the joy of marching into heaven at Jesus' second coming. Bible verses from which the lyrics were gleaned include the following: . . .Yahweh's ransomed ones will return, and come with singing to Zion; and everlasting joy will be on their heads. They will obtain gladness and joy, and sorrow and sighing will flee away. Isaiah 35:10 WEBFor the Lord himself will descend from heaven with a shout, with the voice of the archangel, and with God's trumpet. The dead in Christ will rise first, then we who are alive, who are left, will be caught up together with them in the clouds, to meet the Lord in the air. So we will be with the Lord forever. Therefore comfort one another with these words. 1 Thessalonians 4:16-18 WEBBlessed are those who do his commandments, that they may have the right to the tree of life, and may enter in by the gates into the city. Revelation 22:14 WEBLyrics for my favorite 3 verses:O when the saints go marching in,O when the saints go marching in,O Lord I want to be in that number,When the saints go marching in.O when the trumpet sounds its call,O when the trumpet sounds its call,O Lord I want to be in that number,When the trumpet sounds its call.O when they crown him Lord of all,O when they crown him Lord of all,O Lord I want to be in that numberWhen they crown him Lord of all.
$5.99 ≈
5.59€
Jacques Leguerney: Impromptu for piano
Jacques Leguerney: Impromptu for piano
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Piano seul
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INTERMÉDIAIRE
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Jacques Leguerney
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Jacques Leguerney: Impromptu f
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.533319 Composed by Jacques Leguerney. 20th Century,Concert,Standards. Score. 12 pages. Musik Fabrik Music Publishing #234...
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Piano Solo - Level 3 - SKU: A0.533319 Composed by Jacques Leguerney. 20th Century,Concert,Standards. Score. 12 pages. Musik Fabrik Music Publishing #2343097. Published by Musik Fabrik Music Publishing (A0.533319). This charming piano solo was first performed by its dedicatee, Jacques Leguerney’s good friend and muse Thérèse Cahen (1897-1944), in the Salle Debussy-Pleyel. They met around 1925. Cahen was the first person outside of his family to encourage his musical aspirations. For years, they met every Saturday to read through and discuss his music. She not only helped him with piano and harmony, but also performed his early chamber works, recruiting from her entourage to help him find high level interpreters for his music. Other early Leguerney works that she premiered included the Trio pour violon, violoncello et piano; the Sonatine pour flûte et piano; and two vocal chamber works presented by the Société Musicale Indépendente (S. M. I.), Epitaphe guerrière and Clair de lune for voice, flute and piano. Their friendship lasted until Cahen was deported from Paris on July 31, 1944, only a few weeks prior to the Liberation of Paris. Working with the Center of the Union Générale des Israélites de France in Saint-Mandé (a Parisian suburb), Thérèse Cahen had dedicated herself to the care of children of deported French parents. She left Paris with these children in the Convoy 77, and was taken to the gas chamber of Auschwitz. She left a letter for him, along with her grand piano, which remained in his apartment until his death.My dear Jacques,It is impossible to write on this little page how much I have appreciated your kindness toward me for years and years, and how much happiness this has given me: there have been thousands of Saturdays, and I thought of them every day of the week. Probably you didn’t realize the influence you have had on me: it seems that my whole personality, my way of thinking and feeling has been transformed by you; it is a very deep imprint. If I am taken and in consequence you read this letter, tell yourself that I will continue to count the Saturdays in order to have an idea of the number of songs composed during my absence and that I will be delighted to hear them when I return. If I don’t return, I definitely want you to keep my piano but I don’t think it will happen and I say that I will see you soon.Very tenderly,ThérèsePS Speaking of tenderness, I think with emotion about the little passage concerning tenderness in your latest song.[La Fontaine d’Hélène]
$10.35 ≈
9.66€
Childhood Scenes: Christmas
Childhood Scenes: Christmas
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Dalva R
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Childhood Scenes: Christmas
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Dalva Regina Ribeiro Barbosa
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1142434 Composed by Dalva R. R. Barbosa. Christmas,Classical,Film/TV. Score. 6 pages. Dalva Regina Ribeiro Barbosa #74280...
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Piano Solo - Level 4 - SKU: A0.1142434 Composed by Dalva R. R. Barbosa. Christmas,Classical,Film/TV. Score. 6 pages. Dalva Regina Ribeiro Barbosa #742808. Published by Dalva Regina Ribeiro Barbosa (A0.1142434). This solo piano piece was composed in 2011. It has recently undergone a little review. The piece is a three-part rondó: Part one: In A flat. It presents the fun of preparing the food that will be served and decorating the tree from the point of view of children. There are two small episodes in there, the first being more festive as a dance and the second sweeter almost cantabile. Part two: In f minor. Here we have the point of view of an adult immersing in their childhood imaginary. Although this adult may be surrounded by children, grandchildren, and aggregates, in this moment of abstraction, they feel lonely, longing for memories. A more melodic theme is presented twice, but there is a filling with little tension marked by internal conflict. Part three: Return to the themes in A flat (part 1) showing the moment of delivery of gifts and family moments.
$3.00 ≈
2.80€
Rosary Sonatas: The Presentation
Rosary Sonatas: The Presentation
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Presentati
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1081594 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and part...
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Full Orchestra - Level 4 - SKU: A0.1081594 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 79 pages. JMJ Arrangements #685710. Published by JMJ Arrangements (A0.1081594). [W]hen the time came for their purification according to the law of Moses, they brought him up to Jerusalem to present him to the Lord (as it is written in the law of the Lord, 'Every male that opens the womb shall be called holy to the Lord') and to offer a sacrifice according to what is said in the law of the Lord, 'a pair of turtledoves, or two young pigeons.' Now there was a man in Jerusalem, whose name was Simeon, and this man was righteous and devout, looking for the consolation of Israel, and the Holy Spirit was upon him. And it had been revealed to him by the Holy Spirit that he should not see death before he had seen the Lord’s Christ. And inspired by the Spirit he came into the temple; and when the parents brought in the child Jesus, to do for him according to the custom of the law, he took him up in his arms and blessed God and said, 'Lord, now lettest thou thy servant depart in peace, according to thy word; for mine eyes have seen thy salvation which thou hast prepared in the presence of all peoples, a light for revelation to the Gentiles, and for glory to thy people Israel.' And his father and his mother marveled at what was said about him; and Simeon blessed them and said to Mary his mother, 'Behold, this child is set for the fall and rising of many in Israel, and for a sign that is spoken against (and a sword will pierce through your own soul also), that thoughts out of many hearts may be revealed.' ... And when they had performed everything according to the law of the Lord, they returned into Galilee, to their own city, Nazareth. And the child grew and became strong, filled with wisdom; and the favor of God was upon him. (Luke 2:22-35, 39-40 RSV-CE).
$19.99 ≈
18.65€
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 ≈
22.38€
Autumn tableau
Autumn tableau
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Dario Duarte
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Autumn tableau
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Dario Duarte
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1080608 By Dario Duarte. By Dario Duarte. Classical,Contemporary,Folk,Multicultural,World. Score and parts. 45 pages....
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Full Orchestra - Level 4 - SKU: A0.1080608 By Dario Duarte. By Dario Duarte. Classical,Contemporary,Folk,Multicultural,World. Score and parts. 45 pages. Dario Duarte #684825. Published by Dario Duarte (A0.1080608). The piece consists of a description of a small tableau with an autumn theme in an idyllic town. In the region of the Latin American Andes, more precisely the tableau called ayacuchano is an art form very representative of the folklore of the region. Taking this idea of micro-stories, the work narrates four scenes of a day that begins at dawn and ends with the town's festival. Each story corresponds to the four sections of the music, which are performed successively. First tableau: Autumn morning lights. The change of season is perceived in the ashen morning lights of the autumn season, the sun rises lightly with a slight warmth, giving the ochre color that dominates the landscape a sense of tranquility and reflectiveness. The mood of this piece is one of contemplation. Second tableau: Noon in the town The tableau opens. It is midday. The whole town is busy with preparations for the harvest festival celebration. The music goes by with the sounds of the town and the joy of the inhabitants for the important festivity they are about to share as a community. The whole town is a great hustle and bustle. You hear barrel organs, feel the excitement of hanging banners and decorating the houses for the main parade. Third tableau. Little song for siesta time. A nostalgic voice sings an old folk song to lull the children to sleep. The voices of other adults of the town intertwine to sing a song to the sleeping children. It is a tender song that recovers the stillness and tranquility of the town at the hour when everyone returns to their homes to rest. Fourth tableau: Night of celebration. Harvest Festival The first chords of the town band can be heard in the distance, a melody invites to enter with enthusiasm to the place where the festival will take place. The dance begins, the band plays energetically and everyone participates in a dance of joy. In the most important moment of the party, the town's hymn is played, everyone joins in one voice to sing the song that distinguishes them. And now: the announcement of the winners of the harvest contest. Someone is honored and everyone applauds vigorously. Then the dancing continues again. Everyone occupies the center of the dance floor and enjoys being part of a colorful celebration of unity for the town. Instragram (to be contacted by the instrumental parts): @darioduartenunez.
$15.99 ≈
14.92€
Piano Songbook
Piano Songbook
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Piano seul
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Contemporain
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Martin Stadtfeld
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Piano Songbook
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Schott Music - Digital
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SheetMusicPlus
Piano - easy to intermediate - Composed by Martin Stadtfeld. This edition: single sheet. Downloadable. Schott Music - Digital #Q54651. Published by ...
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Piano - easy to intermediate - Composed by Martin Stadtfeld. This edition: single sheet. Downloadable. Schott Music - Digital #Q54651. Published by Schott Music - Digital
The official sheet music edition of the same-named CD album Piano Songbook (Sony Classical). Includes arrangements and fantasies of popular works, ranging from baroque to romantic as well as own compositions by Martin Stadtfeld. Easy to intermediate difficulty - ideal for young pianists and returnees to the piano.
The works collected in this volume have accompanied me through my life. In difficult times, this music gives me stability and certainty.
The arrangements are partly free and subjective and distil what is essential for me. The motto was: as few notes as possible. This was also what I aspired to achieve in my 10 compositions in the third part. This means that most pieces can be used in piano lessons. Even those who return to the piano after a long time can pick up where they left off with these pieces. I hope that many people playing them will feel what I felt when making this volume: contemplation, absorption, inner strength.
(Martin Stadtfeld)
$23.99 ≈
22.38€
WAYFARING STRANGER (Poor Wayfaring Stranger)
WAYFARING STRANGER (Poor Wayfaring Stranger)
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Chorale TTBB
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DÉBUTANT
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Unknown - traditional
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Paul A
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peripatetic country preachers
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WAYFARING STRANGER
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Paul A. Jorg
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SheetMusicPlus
Choral Choir (TTBB) - Level 1 - SKU: A0.522333 Composed by Unknown - traditional. Arranged by Paul A. Jorg. Christian,Spiritual,Traditional. Octavo. 4 p...
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Choral Choir (TTBB) - Level 1 - SKU: A0.522333 Composed by Unknown - traditional. Arranged by Paul A. Jorg. Christian,Spiritual,Traditional. Octavo. 4 pages. Paul A. Jorg #5869331. Published by Paul A. Jorg (A0.522333). This song is public domain, written in the 1850's, during a time - pre-civil war - when the nation was being torn apart. The writer calms his anxiety by holding on to God's promises. Here are some lyric notes: I am a poor, wayfaring stranger - Wayfaring: traveling especially on foot; peripatetic country preachers; a poor wayfaring stranger. Wandering through this world of woe - Matthew 18:7: Woe to the world because of the things that cause people to sin! Such things must come, but woe to the man through whom they come! And there's no sickness, toil or danger - John 11:4: When he heard this, Jesus said, This sickness will not end in death. No, it is for God's glory so that God's Son may be glorified through it. Ecclesiastes 2:18-19: I hated all the things I had toiled for under the sun, because I must leave them to the one who comes after me. Acts 14:22: strengthening the disciples and encouraging them to remain true to the faith. We must go through many hardships to enter the kingdom of God, In that bright land to which I go - James 1:17 Every good and perfect gift is from above, coming down from the Father of the heavenly lights, who does not change like shifting shadows.I'm going home to see my Father - John 6:40 - For my Father's will is that everyone who looks to the Son and believes in him shall have eternal life, and I will raise him up at the last day. I'm only going over Jordan - Joshua 22:4: Now that the LORD your God has given your brothers rest as he promised, return to your homes in the land that Moses the servant of the LORD gave you on the other side of the Jordan. Yet though dark clouds will gather round me - 2 Corinthians 12:10: That is why, for Christ's sake, I delight in weaknesses, in insults, in hardships, in persecutions, in difficulties. For when I am weak, then I am strong. I know my way is rough and steep - Psalm 16:11: You have made known to me the path of life; you will fill me with joy in your presence, with eternal pleasures at your right hand. Proverbs 15:24: The path of life leads upward for the wise to keep him from going down to the grave.But beauteous fields lie just before me - Numbers 13:25: We arrived in the land you sent us to see, and it is indeed a magnificient country, a land flowing with milk and honey. Where God's redeemed their vigil's keep - Exodus12:42: Because the LORD kept vigil that night to bring them out of Egypt, on this night all the Israelites are to keep vigil to honor the LORD for the generations to come. I'm going home to see my mother - Mark 10:29-31: I tell you the truth, Jesus replied, no one who has left home or brothers or sisters or mother or father or children or fields for me and the gospel will fail to receive a hundred times as much in this present age (homes, brothers, sisters, mothers, children and fields-and with them, persecutions.
$4.59 ≈
4.28€
Under Fletcher's Sky (For Concert Winds *multiple percussion parts also available)
Under Fletcher's Sky (For Concert Winds *multiple percussion parts also available)
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Bradley R Meholick
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Under Fletcher's Sky
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Bradley R Meholick
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.991819 Composed by Bradley R Meholick. Standards. Score and parts. 57 pages. Bradley R Meholick #3449971. Published by ...
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Concert Band - Level 3 - SKU: A0.991819 Composed by Bradley R Meholick. Standards. Score and parts. 57 pages. Bradley R Meholick #3449971. Published by Bradley R Meholick (A0.991819). Under Fletcher's Sky for Concert Band is an original ballad by Bradley R Meholick. The piece moves through styles depicting vast peaceful fields, to the contemporary and obscure, and even the cinematic with the simple motif weaved throughout. Perfect for a growing ensemble desiring to focus on interpretation, expression, and communicative musical understanding. While it is clear that things will return to how they once were, students can look for their own meaning in the work as it transitions from point A to point A. The composer would also love to share the inspiration behind the piece with those performing it. While the piece was intended without percussion, please contact the composer to have percussion materials sent to you. More music by Bradley R Meholick and contact information can be found at www.BMMcreate.com.
$24.99 ≈
23.32€
From Flutter to Flight
From Flutter to Flight
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Contemporain
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L
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From Flutter to Flight
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L.J Harding
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.1028773 Composed by L.J Harding. Contemporary. Score and parts. 6 pages. L.J Harding #3921145. Publish...
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String Quartet String Quartet - Level 3 - SKU: A0.1028773 Composed by L.J Harding. Contemporary. Score and parts. 6 pages. L.J Harding #3921145. Published by L.J Harding (A0.1028773). ‘From Flutter to Flight’ is a String Quartet featuring sequencing, imitation, dynamics and a wide exploration of range. The reason I chose the name ‘From Flutter to Flight’ was because of the inspiration I gained while composing this piece. The story of a bird’s first experience of flight is something that is beautiful, however awkward it may be. The start of the piece, with the duet between Violin 1 & 2, symbolises young birds watching as their parents fly in a dance. The theme is then developed into a four part. The rhythmic pattern in the Viola part represents the fluttering and awkwardness of the young birds as they attempt to fly while the duet between the Violins is maintained and complemented by low notes from the Cello. This represents the birds as they finally begin to learn and begin flying faster and stronger. This swiftly follows by descending thirds on the Cello leading to a four-broken chord progression which creates a sense of adventure and willingness to advance forward. Violin comes in alongside the Cello as the younger birds begin to get more confident. The notes move with the movement of the birds, higher notes representing them flying higher whereas lower notes representing them flying lower. The second theme is then developed with the first theme being played in Violin 2 as a gentle reminder of the birds past and how far they have come. This ends with the return of the first theme in recapitulation followed with some new ideas including a much higher range in Violins 1 & 2 and it closes with the tonic 7th chord to symbolise an ending with the birds finally achieving flight.
$8.99 ≈
8.39€
BROKEN DOLL an original all-girl stage musical
BROKEN DOLL an original all-girl stage musical
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Chorale 2 parties
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INTERMÉDIAIRE/AVANCÉ
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Dennis A
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BROKEN DOLL an original all-gi
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Tyne Music
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SheetMusicPlus
Choral Choir (SA) - Level 4 - SKU: A0.999343 Composed by Dennis A. Westgate. Christian,Musical/Show,Pop,R & B,World. Octavo. 83 pages. Tyne Music #58691...
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Choral Choir (SA) - Level 4 - SKU: A0.999343 Composed by Dennis A. Westgate. Christian,Musical/Show,Pop,R & B,World. Octavo. 83 pages. Tyne Music #5869115. Published by Tyne Music (A0.999343). BROKEN DOLL: A full length family play in the TYNE ONSTAGE series of original musicals. With Drama, Comedy and Song . This is an educational piece for Directors or Drama Teachers in education or the Performing Arts. Set in Heaven, Broken Doll tells the story of a group of recently deceased young women looking down on a teenage girl who is contemplating suicide. They are not told why and the role of the group is to persuade the girl's Spirit, to return to its host. There are a wide range of characters within the piece and although they all have one thing in common, (they are all female), their outlooks and life experiences are naturally all very different and each has an opinion on the cause of the young girl's demeanour and to come up with with a proposition on how to save the girl’s life. This is presented through the music and dialogue. Vocally the cast will have different capabilities and timbres.This diversity of styles in characters and the memorable musical content should appeal to teenagers as well as family members. The stage set is very basic, making the overall cost much lower, allowing it to be performed anywhere with a suitable space. It also has the potential to be filmed and the subsequent DVD could then be made available to anyone working with young people. All the necessary advice, information and useful contacts, should be provided in the programme notes. The album includes the Piano & Vocal Score along with the full Libretto.For full information please see my website:- https://www.tynemusic.com/broken-dollP.S. There are also a set of band parts available on request from the composer.SONG TITLES 1) Look to the Stars 2) Sad Reflections 3) Three Little Words 4) Morning Mist (ballet sequence) 6) Pills & Potions 7) Men! 8) Don’t Talk to Me 9) Poor Sister10) Grains of Sand11) Some Say12) Broken Doll
$50.00 ≈
46.65€
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