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Vous avez sélectionné:
Étude For Xylophone
Partitions à imprimer
22 partitions trouvées
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1
Étude For Xylophone
Étude For Xylophone
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Xylophone
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Classique
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Jordan Brant
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Jordan Brant
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Étude For Xylophone
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Jordan Brant
#
SheetMusicPlus
Xylophone Solo - SKU: A0.1082877 By Jordan Brant. By Jordan Brant. Arranged by Jordan Brant. Classical. 3 pages. Jordan Brant #687086. Published by Jord...
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Xylophone Solo - SKU: A0.1082877 By Jordan Brant. By Jordan Brant. Arranged by Jordan Brant. Classical. 3 pages. Jordan Brant #687086. Published by Jordan Brant (A0.1082877). Étude For Xylophone.
$1.99 ≈
1.86€
Etude for Four
Etude for Four
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Richard Montalto
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Etude for Four
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Maximal Music
#
SheetMusicPlus
Guitar,Marimba,Vibraphone,Xylophone - Level 5 - SKU: A0.1286907 Composed by Richard Montalto. 21st Century,Classical. 26 pages. Maximal Music #877911. P...
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Guitar,Marimba,Vibraphone,Xylophone - Level 5 - SKU: A0.1286907 Composed by Richard Montalto. 21st Century,Classical. 26 pages. Maximal Music #877911. Published by Maximal Music (A0.1286907). Etude for Four is from a series of etudes for unaccompanied soloists and small ensembles. The work, for guitar, xylophone, vibraphone and marimba, is for advanced/professional performers.Performance time: 6'10.
$25.00 ≈
23.33€
15 etudes for xylophone
15 etudes for xylophone
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Xylophone
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FACILE
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Methodes
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Methodes Etudes
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Benoit Stasiaczyk
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15 etudes for xylophone
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Peng Xiaobo
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SheetMusicPlus
Composed by Benoit Stasiaczyk. Classical, Contemporary, Instructional. 19 pages. Peng Xiaobo #720816. Published by Peng Xiaobo...
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Composed by Benoit Stasiaczyk. Classical, Contemporary, Instructional. 19 pages. Peng Xiaobo #720816. Published by Peng Xiaobo
$14.99 ≈
13.99€
Polka Russe-Czerny-Xylophone Solo
Polka Russe-Czerny-Xylophone Solo
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Xylophone
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INTERMÉDIAIRE
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Charles Czerny
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Phil Beaman
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Polka Russe-Czerny-Xylophone S
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Phil Beaman
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SheetMusicPlus
Xylophone Solo - Level 3 - SKU: A0.844593 Composed by Charles Czerny. Arranged by Phil Beaman. Classical,Folk,Instructional. 3 pages. Phil Beaman #39281...
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Xylophone Solo - Level 3 - SKU: A0.844593 Composed by Charles Czerny. Arranged by Phil Beaman. Classical,Folk,Instructional. 3 pages. Phil Beaman #3928145. Published by Phil Beaman (A0.844593). This fun piece is loosely based on a popular Russian folk polka. In 1853 Charles Czerny took this polka tune and created a piano etude as part of his set Amusement des Juenes Amateurs. I have taken some of his themes and adapted and arranged them for instrumental solo. I have assembled them into a Rondo form: Intro-A-B-A-C-A-D-A-Coda. It is an etude (study) to sharpen your playing of scales, arpeggios, melodic interval leaps, and various articulations. But it doesn't at all sound like an exercise because of the playful nature of the polka. This dramatic piece shows your technical accomplishments while delivering a crowd pleasing tune with great flourish.I have marked it as Intermediate in difficulty as a general average. The notes and rhythms are Easy, the quick Tempo makes it Intermediate. The range is a half step beyond a full 2 octaves making it playable on the smaller 2 1/2 octave xylophone.3 pages, 1:45 minutesTemporary piano recording of instrument part
$3.99 ≈
3.72€
Whirling-xylophone solo
Whirling-xylophone solo
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Xylophone
#
INTERMÉDIAIRE/AVANCÉ
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Phil Beaman
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Whirling-xylophone solo
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Phil Beaman
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SheetMusicPlus
Xylophone Solo - Level 4 - SKU: A0.845002 Composed by Phil Beaman. Concert,Contemporary,Instructional,New Age. 1 pages. Phil Beaman #6063483. Published ...
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Xylophone Solo - Level 4 - SKU: A0.845002 Composed by Phil Beaman. Concert,Contemporary,Instructional,New Age. 1 pages. Phil Beaman #6063483. Published by Phil Beaman (A0.845002). Whirling, for unaccompanied instrumental solo, is my musical interpretation of the act and feeling of whirling. It contains whirling broken chords at Prestissimo speed; a frenzied but controlled perpetual motion etude. The piece is a giant chord progression with each whirling chord lasting 8 bars. This piece creates a unique, fun, and impressive performance. Or show your technique and make a friendly speed challenge with your colleagues!
$3.99 ≈
3.72€
Mallet Etude 1
Mallet Etude 1
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Contemporain
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Abigail Pak
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Mallet Etude 1
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Abigail Pak
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SheetMusicPlus
Small Ensemble Marimba,Piano,Vibraphone,Xylophone - Level 3 - SKU: A0.923997 Composed by Abigail Pak. Contemporary. Score and parts. 3 pages. Abigail Pa...
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Small Ensemble Marimba,Piano,Vibraphone,Xylophone - Level 3 - SKU: A0.923997 Composed by Abigail Pak. Contemporary. Score and parts. 3 pages. Abigail Pak #4624239. Published by Abigail Pak (A0.923997). Two and four mallet etude for intermediate mallet percussionist with piano accompaniment. .
$2.99 ≈
2.79€
Seven Studies for Solo Mallet Percussion - Volume 1
Seven Studies for Solo Mallet Percussion - Volume 1
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Xylophone ou Marimba ou Vibraphone
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DÉBUTANT
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Methodes
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Harvey Minchin
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Seven Studies for Solo Mallet
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Harvey Minchin
#
SheetMusicPlus
Marimba, Vibraphone, Xylophone - Easy/Beginner - Digital Download Composed by Harvey Minchin. Etudes and Exercises. Sheet Music Single, Solo Part. 10 ...
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Marimba, Vibraphone, Xylophone - Easy/Beginner - Digital Download Composed by Harvey Minchin. Etudes and Exercises. Sheet Music Single, Solo Part. 10 pages. Published by Harvey Minchin
$9.95 ≈
9.29€
SCHNIBBLES for Two: 101 Easy Practice Duets for Band: KEYBOARD PERCUSSION
SCHNIBBLES for Two: 101 Easy Practice Duets for Band: KEYBOARD PERCUSSION
Marimba,Vibraphone,Xylophone,Concert Band,Flexible Instrumentation Duets
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Methodes Etudes
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Methodes
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Brad Carman
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SCHNIBBLES for Two: 101 Easy P
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Brad Carman
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SheetMusicPlus
Composed by Brad Carman. Etudes and Exercises. Individual Part. 64 pages. Published by Brad Carman (S0.256865). - Individual Part - Etudes and Exercises - Brad ...
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Composed by Brad Carman. Etudes and Exercises. Individual Part. 64 pages. Published by Brad Carman (S0.256865). - Individual Part - Etudes and Exercises - Brad Carman
$8.99 ≈
8.39€
100 Progressive Sightreading Exercises for Band
Flute,Oboe,Clarinet,Bassoon,Alto Sax,Tenor Sax,Baritone Sax,Trumpet,Trombone,Tuba,Horn in F,Euphonium,Drums,Xylophone,Concert Band
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Methodes Etudes
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Methodes
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Eric Drew
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100 Progressive Sightreading E
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Eric Drew
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SheetMusicPlus
Composed by Eric Drew. Modern, Etudes and Exercises. Set of Parts. 104 pages. Published by Eric Drew (S0.282509). - Set of Parts - Modern,Etudes and Exercises -...
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Composed by Eric Drew. Modern, Etudes and Exercises. Set of Parts. 104 pages. Published by Eric Drew (S0.282509). - Set of Parts - Modern,Etudes and Exercises - Eric Drew
$19.99 ≈
18.66€
Bleueses for Major Healy (Duet for C Instruments)
Bleueses for Major Healy (Duet for C Instruments)
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Chris Kelsey
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Bleueses for Major Healy
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Chris Kelsey Publishing, BMI
#
SheetMusicPlus
Large Ensemble Flute,Guitar,Marimba,Oboe,Vibraphone,Violin,Xylophone - Level 5 - SKU: A0.1007322 Composed by Chris Kelsey. Contemporary,Instructional,Ja...
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Large Ensemble Flute,Guitar,Marimba,Oboe,Vibraphone,Violin,Xylophone - Level 5 - SKU: A0.1007322 Composed by Chris Kelsey. Contemporary,Instructional,Jazz. Score and parts. 3 pages. Chris Kelsey Publishing, BMI #3112089. Published by Chris Kelsey Publishing, BMI (A0.1007322). A duet for like instruments based loosely on the 12-bar blues form. Written to be performed in either a jazz or classical style, it can also be used as a springboard for improvisation. Can be played at any tempo, but if used as an etude, should be mastered at the fastest possible speed.
$4.99 ≈
4.66€
Études choréographiques
Études choréographiques
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Maurice Ohana
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Études choréogra
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Schott Music - Digital
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SheetMusicPlus
Percussion with 4 players - SKU: S9.Q2617 Composed by Maurice Ohana. This edition: performance score. Downloadable, Performance score. Schott Music - Di...
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Percussion with 4 players - SKU: S9.Q2617 Composed by Maurice Ohana. This edition: performance score. Downloadable, Performance score. Schott Music - Digital #Q2617. Published by Schott Music - Digital (S9.Q2617). (grosse Trommel, kleine Trommel, Ruhrtrommel, Schellentrommel, je 2 hohe und tiefe Tom-Toms, kleines und grosses Becken, Tamtam, Holzblock, Maracas, Amboss, Gong, Triangel, Glocken, Glockenspiel, Vibraphon, Xylophon) / (bass drum, side/snare drum, tenor drum, rattlesdrum, je 2 high and low Tom-Toms, kleines and grosses cymbal, Tamtam, wood block, Maracas, Amboss, gong, triangles, bells, glockenspiel, vibraphone, xylophone)(große Trommel, kleine Trommel, Rührtrommel, Schellentrommel, je 2 hohe und tiefe Tom-Toms, kleines und großes Becken, Tamtam, Holzblock, Maracas, Amboss, Gong, Triangel, Glocken, Glockenspiel, Vibraphon, Xylophon) / (bass drum, side/snare drum, tenor drum, rattlesdrum, je 2 high and low Tom-Toms, kleines and großes cymbal, Tamtam, wood block, Maracas, Amboss, gong, triangles, bells, glockenspiel, vibraphone, xylophone).
$21.99 ≈
20.52€
Etudes choréographiques
Etudes choréographiques
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Maurice Ohana
#
2
#
Etudes choréographiques
#
Schott Music - Digital
#
SheetMusicPlus
Percussion with 6 players - SKU: S9.Q2757 Composed by Maurice Ohana. This edition: performance score. Downloadable, Performance score. Duration 10 minut...
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Percussion with 6 players - SKU: S9.Q2757 Composed by Maurice Ohana. This edition: performance score. Downloadable, Performance score. Duration 10 minutes. Schott Music - Digital #Q2757. Published by Schott Music - Digital (S9.Q2757). Percussion with 6 players (1. player: 4 chin. cymbal, triangles, ant. cymbals, 2 suspended cymbals, Tamtam, 7 thail. gongs, Amboss, wood block, Tumba; 2. player: 4 Tom-Toms, side/snare drum, snare drum, 3 temple blocks; 3. player: side/snare drum, bass drum, Maracas, 4 Tom-Toms, suspended cymbal; 4. player: xylophone, vibraphone, 2 kleine cymbal, ant. cymbals, Maracas, Tumba; 5. player: vibraphone, Maracas, suspended cymbal, 2 Tamtams, rattlesdrum, 2 gongs; 6. player: glockenspiel, Marimba, Tarole-drum, side/snare drum, 2 grosse cymbal).
$31.99 ≈
29.86€
Seven Studies for Solo Mallet Percussion Volume 2
Seven Studies for Solo Mallet Percussion Volume 2
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Marimba
#
INTERMÉDIAIRE
#
Methodes
#
Harvey Minchin
#
Seven Studies for Solo Mallet
#
Harvey Minchin
#
SheetMusicPlus
Marimba, Vibraphone, Xylophone - Intermediate - Digital Download Composed by Harvey Minchin. Modern, Etudes and Exercises, Recital. Sheet Music Single. 9 p...
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Marimba, Vibraphone, Xylophone - Intermediate - Digital Download Composed by Harvey Minchin. Modern, Etudes and Exercises, Recital. Sheet Music Single. 9 pages. Published by Harvey Minchin
$9.95 ≈
9.29€
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 ≈
22.39€
Ecossaise #2
Ecossaise #2
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Xylophone
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INTERMÉDIAIRE
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Zyka, Josef Benedikt
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Nick Lacanski
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Ecossaise #2
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theupperstaff.com
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SheetMusicPlus
Composed by Zyka, Josef Benedikt. Arranged by Nick Lacanski. For Xylophone. Etudes and Exercises,General Instructional,Recital. Intermediate. Individual Part. 1...
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Composed by Zyka, Josef Benedikt. Arranged by Nick Lacanski. For Xylophone. Etudes and Exercises,General Instructional,Recital. Intermediate. Individual Part. 1 pages. Published by theupperstaff.com
$1.99 ≈
1.86€
Melodic Jazz Improvisation Series: There Will Never Be Another Dexter (C Instruments)
Melodic Jazz Improvisation Series: There Will Never Be Another Dexter (C Instruments)
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Instruments en Do
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INTERMÉDIAIRE
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Jazz
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Arrigo Tomasi
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Melodic Jazz Improvisation Ser
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PartiturasDigitales.net
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SheetMusicPlus
Flute, Violin, Vibraphone, Xylophone, Guitar, Banjo, C Instruments - Intermediate - Composed by Arrigo Tomasi. Jazz, Swing, Etudes and Exercises. Le...
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Flute, Violin, Vibraphone, Xylophone, Guitar, Banjo, C Instruments - Intermediate - Composed by Arrigo Tomasi. Jazz, Swing, Etudes and Exercises. Lead Sheet. 4 pages. Published by PartiturasDigitales.net
Melodic Jazz Improvisation Series is a compilation of improvisations on jazz standards chords changes with the aim of creating samples of melodic phrasing that you can use and adapt in your improvisations. Usable studies for students, teachers and jazz improvisation lovers.
"There Will Never Be Another Dexter" is dedicate to Dexter Gordon and has a melodic extension from Bb2 to G4 (concert pitch) with an intermediate level of difficulty.
After the head there are 3 chorus of improvisations.
This is the sheet music for C instruments: Violin, Guitar (no Tab), Accordion, Flute (One octave above), Vibraphone, ...
The Play Along to play and practice is available on YouTube: https://youtu.be/UwF2bnG6WOw
Also available sheet music for Bb, Eb and Bass Clef instruments.
$4.99 ≈
4.66€
A Millions Pennies (Concert)
A Millions Pennies (Concert)
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Chris Kelsey
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A Millions Pennies
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Chris Kelsey Publishing, BMI
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SheetMusicPlus
Large Ensemble Flute,Guitar,Marimba,Oboe,Piano,Vibraphone,Violin,Xylophone - Level 5 - SKU: A0.1007315 Composed by Chris Kelsey. Contemporary,Instructio...
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Large Ensemble Flute,Guitar,Marimba,Oboe,Piano,Vibraphone,Violin,Xylophone - Level 5 - SKU: A0.1007315 Composed by Chris Kelsey. Contemporary,Instructional,Jazz. Score and parts. 1 pages. Chris Kelsey Publishing, BMI #3112039. Published by Chris Kelsey Publishing, BMI (A0.1007315). A jazz line in the tradition of Ornette Coleman, in which the harmonies are irregular and provisional, not specified. For performance purposes, it can be interpreted loosely. Tempo can be as slow or as fast as desired. Time signatures are included for purposes of phrasing and are not necessarily meant to be strictly adhered to. If used as an etude, it may be helpful to treat the time in a stricter manner and work to play as fast as possible. The work is in large party built on unpredictable and/or unusual intervallic and chordal relationships, the mastery of which can only strengthen the player's technique. For performance cues listen to such Ornette compositions as Change of the Century and Moon Inhabitants..
$1.99 ≈
1.86€
Lesson Plan & Manuscript Book
Lesson Plan & Manuscript Book
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Eric Bolvin
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Lesson Plan & Manuscript B
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ERIC V BOLVIN
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drums,English Horn,Euphoni...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drums,English Horn,Euphonium,Flute,Harmonica,Harp,Marimba,Oboe,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - SKU: A0.829070 Composed by Eric Bolvin. Instructional,Standards. Score and parts. 78 pages. ERIC V BOLVIN #3579873. Published by ERIC V BOLVIN (A0.829070). All teachers and students can use this book. It is simply an outline for developing a consistent practice routine. Sections A and B should consist of exercises that are for the instrument. For trumpet this may include flexibility, long tones, scales, arpeggios, buzzing, pedal tones or any other technical exercise. Sections C, D and E should be used for assignments concerning music. These could include etudes, jazz transcriptions, orchestral excerpts, concertos, ensemble parts or any other musical application. The indications for REST are very important for all brass players. You must always rest as much as you play during the A and B sections of the lesson.This is the warm-up section of your routine and you will feel better if you take your time during these first and most important steps. If you become fatigued during parts A or B, you are not resting enough and shouldstart fresh the next day, all the while considering the fact that you have not rested properly.The opposing manuscript page is for writing scales, exercises, tunes, licks, notes, or whatever you wish to write there.The book also has a space at the bottom for students to write down how much time they practice each day.
$13.95 ≈
13.02€
Concert Etude, Op. 49 (Solo Trumpet and Concert Band): Xylophone
Concert Etude, Op. 49 (Solo Trumpet and Concert Band): Xylophone
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Orchestre d'harmonie
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Classique
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Alexander Fiodorovich Goedicke
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David Marlatt
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Concert Etude, Op. 49
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
By Alexander Fiodorovich Goedicke (1877-1957). Arranged by David Marlatt. For Concert Band. Classical. Part. 2 pages. Published by Alfred Music - Digital Sheet ...
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By Alexander Fiodorovich Goedicke (1877-1957). Arranged by David Marlatt. For Concert Band. Classical. Part. 2 pages. Published by Alfred Music - Digital Sheet Music
$3.00 ≈
2.80€
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1
Étude For Xylophone
