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17 sheet music found
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1
Piano Trio No. 2 "Strange Rims" (piano score - pno, vln, cel)
Piano Trio No. 2 "Strange Rims" (piano score - pno, vln, cel)
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Mark O'Connor
#
Piano Trio No. 2 "Strange Rims
#
Mark O'Connor Musik International
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861895 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 74 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861895 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 74 pages. Mark O'Connor Musik International #6206123. Published by Mark O'Connor Musik International (A0.861895). Piano Trio No. 2 Strange Rims (piano score – pno, vln, cel) MO166APiano Score (parts available)Music by Mark O’Connor70 pages - 27:00 minutes in lengthI.II.III.Piano Trio No. 2 Strange Rims in 3 movements was composed in 2005, and was the 1st piece I composed after relocating to New York City. It was composed during a 40-day bus tour around the country as well as at my new apartment in midtown New York City. The complexity and difficulty of the music reflects some of the transitions to the new urban big city life I encountered in New York coming from a more sedate lifestyle in amongst the avocado groves of north San Diego county. I had a hunch that my composing could change direction somewhat during this time of transition and reflect a different character. In anticipation of this new stage, decided to compose one of the more technically difficult ensemble works I have written to date. I pushed the boundaries of my own style and ability in order to compose something unique for piano in this piece. I had in mind a brilliant pianist Soyeon Lee from Korea who inspired the composition with her virtuoso technique, and her unique personality. The musical direction was further directed by one of the strangest music tours I have been on with a cast of characters containing some who did not get along at all and quit the tour, while others got along too well and created a different kind of havoc. With a pianist from the Pacific Rim as one source of inspiration, while the wheels on the strange bus tour kept turning on the American highways, the title Strange Rims captured the many layers I was living and seeing at the time. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2005 Composed by Mark O’ConnorMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO166ACopyright © 2005 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$18.00 ≈
16.61€
Piano Trio No. 2 "Strange Rims" (violin part - pno, vln, cel)
Piano Trio No. 2 "Strange Rims" (violin part - pno, vln, cel)
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Mark O'Connor
#
Piano Trio No. 2 "Strange Rims
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Mark O'Connor Musik International
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861896 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 29 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861896 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 29 pages. Mark O'Connor Musik International #6206133. Published by Mark O'Connor Musik International (A0.861896). Piano Trio No. 2 Strange Rims (violin part – piano, vln, cel) MO166BViolin Part (score and parts available)Music by Mark O’Connor24 pages - 27:00 minutes in lengthI.II.III.Piano Trio No. 2 Strange Rims in three movements was composed in 2005, and was the 1st piece I composed after relocating to New York City. It was composed during a 40-day bus tour around the country as well as at my new apartment in midtown New York City. The complexity and difficulty of the music reflects some of the transitions to the new urban big city life I encountered in New York coming from a more sedate lifestyle in amongst the avocado groves of north San Diego county. I had a hunch that my composing could change direction somewhat during this time of transition and reflect a different character. In anticipation of this new stage, decided to compose one of the more technically difficult ensemble works I have written to date. I pushed the boundaries of my own style and ability in order to compose something unique for piano in this piece. I had in mind a brilliant pianist Soyeon Lee from Korea who inspired the composition with her virtuoso technique, and her unique personality. The musical direction was further directed by one of the strangest music tours I have been on with a cast of characters containing some who did not get along at all and quit the tour, while others got along too well and created a different kind of havoc. With a pianist from the Pacific Rim as one source of inspiration, while the wheels on the strange bus tour kept turning on the American highways, the title Strange Rims captured the many layers I was living and seeing at the time. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2005 Composed by Mark O’ConnorMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO166BCopyright © 2005 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$12.00 ≈
11.07€
Piano Trio No. 2 "Strange Rims" (cello part - pno, vln, cel)
Piano Trio No. 2 "Strange Rims" (cello part - pno, vln, cel)
#
Mark O'Connor
#
Piano Trio No. 2 "Strange Rims
#
Mark O'Connor Musik International
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861897 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 29 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861897 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 29 pages. Mark O'Connor Musik International #6206137. Published by Mark O'Connor Musik International (A0.861897). Piano Trio No. 2 Strange Rims (cello part – piano, vln, cel) MO166CCello Part (score and parts available)Music by Mark O’Connor23 pages - 27:00 minutes in lengthI.II.III.Piano Trio No. 2 Strange Rims in three movements was composed in 2005, and was the 1st piece I composed after relocating to New York City. It was composed during a 40-day bus tour around the country as well as at my new apartment in midtown New York City. The complexity and difficulty of the music reflects some of the transitions to the new urban big city life I encountered in New York coming from a more sedate lifestyle in amongst the avocado groves of north San Diego county. I had a hunch that my composing could change direction somewhat during this time of transition and reflect a different character. In anticipation of this new stage, decided to compose one of the more technically difficult ensemble works I have written to date. I pushed the boundaries of my own style and ability in order to compose something unique for piano in this piece. I had in mind a brilliant pianist Soyeon Lee from Korea who inspired the composition with her virtuoso technique, and her unique personality. The musical direction was further directed by one of the strangest music tours I have been on with a cast of characters containing some who did not get along at all and quit the tour, while others got along too well and created a different kind of havoc. With a pianist from the Pacific Rim as one source of inspiration, while the wheels on the strange bus tour kept turning on the American highways, the title Strange Rims captured the many layers I was living and seeing at the time. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2005 Composed by Mark O’ConnorMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO166CCopyright © 2005 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$12.00 ≈
11.07€
Debussy: Prélude à l'après-midi d'un faune - symphonic wind
Debussy: Prélude à l'après-midi d'un faune - symphonic wind
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Classical
#
Claude Debussy
#
Ray Thompson
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Debussy: Prélude à l'après-
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RayThompsonMusic
#
SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Oboe/English Horn - Level 5 - SKU: A0.1377677 Composed by Claude Debussy. Arranged by Ray Thompson. 20th Century,Cham...
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Bassoon,Clarinet,Double Bass,Flute,Oboe/English Horn - Level 5 - SKU: A0.1377677 Composed by Claude Debussy. Arranged by Ray Thompson. 20th Century,Chamber,Classical. 62 pages. RayThompsonMusic #962154. Published by RayThompsonMusic (A0.1377677). Prélude à l'après-midi d'un faune arranged wind decet/dectet (double wind quintet/bass)Additional flute 3/cor anglais.(They are not essential and can be omitted)Prélude à l'après-midi d'un faune (L. 86), known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy, approximately 10 minutes in duration. It was composed in 1894 and first performed in Paris on 22 December 1894, conducted by Gustave Doret.The flute solo was played by Georges Barrère.The composition was inspired by the poem L'après-midi d'un faune by Stéphane Mallarmé. It is one of Debussy's most famous works and is considered a turning point in the history of Western art music as well as a masterpiece of Impressionist composition. Pierre Boulez considered the score to be the beginning of modern music, observing that the flute of the faun brought new breath to the art of music.Debussy's work later provided the basis for the ballet Afternoon of a Faun choreographed by Vaslav Nijinsky and a later version by Jerome Robbins.
$29.95 ≈
27.63€
Duet in D-Flat Major (Alternate Version)
Duet in D-Flat Major (Alternate Version)
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Classical
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Ian Deterling
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9/16
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Duet in D-Flat Major
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Ian Deterling
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SheetMusicPlus
Instrumental Duet - Level 5 - SKU: A0.1365910 Composed by Ian Deterling. Classical. 172 pages. Ian Deterling #950261. Published by Ian Deterling (A0.136...
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Instrumental Duet - Level 5 - SKU: A0.1365910 Composed by Ian Deterling. Classical. 172 pages. Ian Deterling #950261. Published by Ian Deterling (A0.1365910). Note: The original version of Duet in D-Flat Major made use of relatively uncommon time signatures (6/16; 9/16; 12/16). This 'Alternate Version' has rewritten the piece into more familiar time signatures (6/8; 9/8; 12/8). Duet in D-Flat Major was written in what could perhaps be best described as a burst of inspiration. After a couple of days of casually juggling some motifs around in my mind, clicked and I woke up with a musical idea that I scrambled to write down as quickly as possible. I spent the majority of that day developing these ideas, and this became what is now the third movement. Some of the ‘leftover ideas’ that didn’t make it into the finale were used as seeds for the second movement - in particular, the motifs at measure 9 and from 70-80. The opening movement ended up being the last one written and begins with a noble and/or heroic fanfare in 6/16. The second movement cautiously meanders through unexpected harmonies, much like someone nervously exploring unfamiliar places. The finale is another fanfare, but has some mischievous fun after turning a few harmonic corners in minor. My goal with this duet was to create a musical universe that has the grandeur of an orchestra with just two voices.  I’ve adapted this duet for a variety of instruments. The score reads as a small flex-band ensemble, but this piece is intended to be performed by just two musicians.Instruments:Part 1 - Clarinet in Bb - Alto Clarinet - Bass Clarinet - Alto Saxophone - Tenor Saxophone in Bb - Baritone Saxophone - Trumpet in Bb - Horn in F - Alto TrombonePart 2 - Bass Clarinet - Bassoon - Baritone Saxophone - Trombone - Bass Trombone - Euphonium (BC and TC) - Tuba.
$20.00 ≈
18.45€
Duet in D-Flat Major (flexible instrumentation)
Duet in D-Flat Major (flexible instrumentation)
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Contemporary
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Ian Deterling
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Duet in D-Flat Major
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Ian Deterling
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SheetMusicPlus
Instrumental Duet - Level 5 - SKU: A0.742998 Composed by Ian Deterling. Contemporary. 226 pages. Ian Deterling #6255511. Published by Ian Deterling (A0....
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Instrumental Duet - Level 5 - SKU: A0.742998 Composed by Ian Deterling. Contemporary. 226 pages. Ian Deterling #6255511. Published by Ian Deterling (A0.742998). Duet in D-Flat Major was written in what could perhaps be best described as a burst of inspiration. After a couple of days of casually juggling some motifs around in my mind, clicked and I woke up with a musical idea that I scrambled to write down as quickly as possible. I spent the majority of that day developing these ideas, and this became what is now the third movement. Some of the ‘leftover ideas’ that didn’t make it into the finale were used as seeds for the second movement - in particular, the motifs at measure 9 and from 70-80. The opening movement ended up being the last one written and begins with a noble and/or heroic fanfare in 6/16. The second movement cautiously meanders through unexpected harmonies, much like someone nervously exploring unfamiliar places. The finale is another fanfare, but has some mischievous fun after turning a few harmonic corners in minor. My goal with this duet was to create a musical universe that has the grandeur of an orchestra with just two voices.  I’ve adapted this duet for a variety of instruments. The score reads as a small flex-band ensemble, but this piece is intended to be performed by just two musicians. Instruments:Part 1 - Clarinet in Bb - Alto Clarinet - Bass Clarinet - Alto Saxophone - Tenor Saxophone in Bb - Baritone Saxophone - Trumpet in Bb - Horn in F - Alto TrombonePart 2 - Bassoon - Baritone Saxophone - Trombone - Bass Trombone - Euphonium (BC and TC) - Tuba
$20.00 ≈
18.45€
Seven Serapés for Six Pianos (Parts only)
Seven Serapés for Six Pianos (Parts only)
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Igor Korneitchouk
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Seven Serapés for Six Pianos
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Studio at the Post
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SheetMusicPlus
Level 5 - SKU: A0.1124743 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 98 pages. Studio at the Post #725501. Published by Studio at...
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Level 5 - SKU: A0.1124743 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 98 pages. Studio at the Post #725501. Published by Studio at the Post (A0.1124743). Parts only (see A725494 for Score). Duration: 22 – 24 minutes, Six Parts between 12 – 16 pp. Description: Each of the SerapeÌs has a programmatic subtitle that gives the listener a hint as to how to listen. SerapeÌs Nos. 1, 4 and 7 (subtitled Three Brothers) divide up the collection symmetrically as all three share variations of the same set of motivic layers. Nonetheless, despite their common genetic heritage, the three brothers all have radically different personalities. SerapeÌ No. 2 is called Burro for its loping cowboy-swing. Its seemingly infinite upward-spiraling progression through succeeding tonal centers reminds one of the mules on the switchbacks of the Grand Canyon. SerapeÌ No. 3, Starry Night, employs one of Korneitchouk's favorite devices of combing complex order out of chaos. Overlapping melodic patterns in 7/8, 8/8, 9/8, 10/8, 11/8, and 13/8 emerge -- three at a time -- out of constellations of apparently random notes. The brutal SerapeÌ No. 5, L.A. Smog, is rude. This SerapeÌ starts as a sonorous block of jackhammer intensity that later reveals itself to be in a very brisk 5/8 meter. In contrast, SerapeÌ No. 6 is the most peaceful and static SerapeÌ. It includes a musical portrait of the composer's refrigerator turning itself on and off in the dead of night. A drone, which suggests the 60-cycle hum of the refrigerator, anchors the subtle shifting and overlapping harmonies of the piece.
$5.02 ≈
4.63€
Seven Serapés for Six Pianos - Score Only
Seven Serapés for Six Pianos - Score Only
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Igor Korneitchouk
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Seven Serapés for Six Pianos
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Studio at the Post
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SheetMusicPlus
Level 5 - SKU: A0.1125661 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 110 pages. Studio at the Post #725494. Published by Studio a...
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Level 5 - SKU: A0.1125661 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 110 pages. Studio at the Post #725494. Published by Studio at the Post (A0.1125661). Score only (see A725501 for Parts). Duration: 22 – 24 minutes, 217 pp. reduced to 108 pp. Description: Each of the SerapeÌs has a programmatic subtitle that gives the listener a hint as to how to listen. SerapeÌs Nos. 1, 4 and 7 (subtitled Three Brothers) divide up the collection symmetrically as all three share variations of the same set of motivic layers. Nonetheless, despite their common genetic heritage, the three brothers all have radically different personalities. SerapeÌ No. 2 is called Burro for its loping cowboy-swing. Its seemingly infinite upward-spiraling progression through succeeding tonal centers reminds one of the mules on the switchbacks of the Grand Canyon. SerapeÌ No. 3, Starry Night, employs one of Korneitchouk's favorite devices of combing complex order out of chaos. Overlapping melodic patterns in 7/8, 8/8, 9/8, 10/8, 11/8, and 13/8 emerge -- three at a time -- out of constellations of apparently random notes. The brutal SerapeÌ No. 5, L.A. Smog, is rude. This SerapeÌ starts as a sonorous block of jackhammer intensity that later reveals itself to be in a very brisk 5/8 meter. In contrast, SerapeÌ No. 6 is the most peaceful and static SerapeÌ. It includes a musical portrait of the composer's refrigerator turning itself on and off in the dead of night. A drone, which suggests the 60-cycle hum of the refrigerator, anchors the subtle shifting and overlapping harmonies of the piece.
$9.03 ≈
8.33€
Fur Elise for Euphonium / Tuba Quartet
Fur Elise for Euphonium / Tuba Quartet
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Classical
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Ludwig van Beethoven
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Niels-Ole Bo Johansen
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Fur Elise for Euphonium / Tuba
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Gordon Cherry
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SheetMusicPlus
Euphonium,Tuba - Level 5 - SKU: A0.1277210 Composed by Ludwig van Beethoven. Arranged by Niels-Ole Bo Johansen. Romantic Period. 9 pages. Gordon Cherry ...
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Euphonium,Tuba - Level 5 - SKU: A0.1277210 Composed by Ludwig van Beethoven. Arranged by Niels-Ole Bo Johansen. Romantic Period. 9 pages. Gordon Cherry #868901. Published by Gordon Cherry (A0.1277210). Für Elise by Ludwig van Beethoven is one of the composer's most recognizable works for the Piano. Although written in 1810, it was discovered and first published in 1867, forty years after the composer's death.It is uncertain who Elise is.... possibly Therese Malfatti, the woman whom he proposed to (eventually turning him down), but whomever it was, she was a close friend and possibly an important person in his life.This superb arrangement by Niels-Ole Bo Johansen for Euphonium/Tuba Quartet is challenging for the top part and of medium difficulty for the other 3 parts.
$22.50 ≈
20.76€
Scriabin: Five Preludes, Op. 74 for Saxophone Choir - Score Only
Scriabin: Five Preludes, Op. 74 for Saxophone Choir - Score Only
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Alexander Scriabin
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James M
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Scriabin: Five Preludes, Op. 7
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 5 - SKU: A0.1400369 Composed by Alexander Scriabin. Arranged by James M. Guthrie. 20th Century,Contemporary,Contest,Festival,H...
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Woodwind Ensemble - Level 5 - SKU: A0.1400369 Composed by Alexander Scriabin. Arranged by James M. Guthrie. 20th Century,Contemporary,Contest,Festival,Historic,Instructional. 42 pages. Jmsgu3 #983552. Published by jmsgu3 (A0.1400369). Scriabin's Op. 74, specifically the Five Preludes, is significant for its innovative harmonic system based on the Mystic Chord. Scriabin's use of the acoustic scale as a set, known as the Mystic Chord, revolutionized traditional tonal gravity and functionality in his compositions. The tritone plays a crucial role in his harmonic construction and formal definition, often leading to sections returning at tritone transpositions. Despite the absence of tonal gravity, Scriabin assigns a pitch-center to his pieces, redefining tonal orientation through the primary transposition of the Mystic Chord. These preludes, composed in 1914 before he died in 1915, showcase Scriabin's mastery of harmonies and his departure from traditional tonalities.
$49.95 ≈
46.08€
Scriabin: Five Preludes, Op. 74 for String Orchestra - Score Only
Scriabin: Five Preludes, Op. 74 for String Orchestra - Score Only
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Alexander Scriabin
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James M
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Scriabin: Five Preludes, Op. 7
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jmsgu3
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SheetMusicPlus
String Orchestra - Level 5 - SKU: A0.1400295 Composed by Alexander Scriabin. Arranged by James M. Guthrie. 20th Century,Contemporary,Contest,Festival,Hi...
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String Orchestra - Level 5 - SKU: A0.1400295 Composed by Alexander Scriabin. Arranged by James M. Guthrie. 20th Century,Contemporary,Contest,Festival,Historic,Instructional. 21 pages. Jmsgu3 #983477. Published by jmsgu3 (A0.1400295). Scriabin's Op. 74, specifically the Five Preludes, is significant for its innovative harmonic system based on the Mystic Chord. Scriabin's use of the acoustic scale as a set, known as the Mystic Chord, revolutionized traditional tonal gravity and functionality in his compositions. The tritone plays a crucial role in his harmonic construction and formal definition, often leading to sections returning at tritone transpositions. Despite the absence of tonal gravity, Scriabin assigns a pitch-center to his pieces, redefining tonal orientation through the primary transposition of the Mystic Chord. These preludes, composed in 1914 before he died in 1915, showcase Scriabin's mastery of harmonies and his departure from traditional tonalities.
$49.95 ≈
46.08€
Reflections (String orchestra version) - Score Only
Reflections (String orchestra version) - Score Only
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Robert A
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Reflections
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Robert A. Howard
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SheetMusicPlus
String Orchestra - Level 5 - SKU: A0.998843 Composed by Robert A. Howard. 20th Century,Chamber,Classical,Contemporary,Film/TV. 11 pages. Robert A. Howar...
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String Orchestra - Level 5 - SKU: A0.998843 Composed by Robert A. Howard. 20th Century,Chamber,Classical,Contemporary,Film/TV. 11 pages. Robert A. Howard #6183583. Published by Robert A. Howard (A0.998843). Reflections is the second movement of the three-movement piano suite 'Mirror Image', here in an arrangement for String Orchestra. The version of the work for solo piano is also available via Sheet Music Plus. Reflections explores the notion of inversion, creating additional parts through mirroring. The movement winds through a series of sections, each based on a keynote of the ascending whole-tone scale, before returning to the opening tonal centre of C. The piece is technically quite demanding and therefore is best suited to higher-grade students and advanced players. This document is the full score only.
$8.99 ≈
8.29€
Urlicht from Symphony No. 2 for 9-part Brass Ensemble & Glöckenspiel
Urlicht from Symphony No. 2 for 9-part Brass Ensemble & Glöckenspiel
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Classical
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Gustav Mahler
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Jim Pugh
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Urlicht from Symphony No. 2 fo
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Gordon Cherry
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SheetMusicPlus
Small Ensemble Glockenspiel,Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.792620 Composed by Gustav Mahler. Arranged by Jim Pugh. 20th Century,Classica...
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Small Ensemble Glockenspiel,Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.792620 Composed by Gustav Mahler. Arranged by Jim Pugh. 20th Century,Classical,Romantic Period. Score and parts. 42 pages. Gordon Cherry #5040973. Published by Gordon Cherry (A0.792620). Urlicht (Primal Light), beautifully arranged for 9-part Brass ensemble & Glockenspiel by Jim Pugh, is taken from the 4th movement of Gustav Mahler’s Symphony No. 2 Resurrection. The text, which is also used in Mahler’s Das Knaben Wunderhorn talks about the desire of returning to God for an eternal, blissful life. Mahler’s music is magical, evoking ecstatic sadness, transporting the listener into another dimension. The arrangement features the 1st Horn part, which takes over the Alto vocal solo and is about 4 minutes in length and is appropriate for advanced performers. Instrumentation is: 3 Trumpets in B-flat (3rd doubles on Piccolo) 2 Horns 2 Trombones Bass Trombone (Euphonium or F-Tuba) Tuba Glockenspiel
$32.50 ≈
29.98€
Oscillation
Oscillation
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Contemporary
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contrast, the string quartet h
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Jeremy Hart
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Oscillation
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Jeremy Graham Hart
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SheetMusicPlus
Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pa...
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Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pages. Jeremy Graham Hart #6590413. Published by Jeremy Graham Hart (A0.1028192). Oscillation began as an experiment in coordination of a melody and harmony which are based on different means of organization. To this end, the clarinet is treated separately from the string quartet. The clarinet melody is constructed by means of limited interval usage. In mm.1–3 it can be observed that the melodic intervals are strictly limited to the use of a major 2nd/minor 7th or a major 6th/minor 3rd. By contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key. In addition, despite the proliferation of non-chord tones and transitionary passages in the string quartets’ music, the stable harmonies are written to have fairly parsimonious motion between them (if one were to reduce out the NCTs etc.) The coordination of these two separate logics is done by the selection of anchor-pitches for the melodic phrases. For example, the melodic phrase in mm.4–7 oscillates around the pitch of G natural (transposed in the score), which it shares with the F major/minor 7th chord that is heard as the harmonic goal of the strings in m.7. The teleology of the work can largely be traced in its melodic construction. Its opening phrase of mm.1–3 is anchored on G natural and ends on a C sharp, a tritone above the anchor, to simulate a half-cadence effect. The second phrase of mm.4–7 is still written on G natural but it ends on G as well, forming the authentic cadence and establishing a basic period as well as the work’s first theme. This is followed by second period which represents a dominant relationship to the first. The phrase at mm.10–13.2 is a rather extended utterance in comparison to the first two and is anchored on D natural. This is followed by 4-stage call and response across the ensemble (excluding the second violin) that leads the first section to a close at m.16 on a C diminished triad. Melodically, the first section is characterised by its limited used of a major 2nd/minor 7th or a major 6th/minor 3rd interval. At m.17, the second section follows much the same process as the first, using anchor pitches as a means of coordination and formal definition, and alternating soloistic clarinet playing with activated harmonies in the strings. The primary difference is in the character of the second section’s theme with regards to its rhythmic profile as well as its intervallic content. Namely, these are limited to the use of a minor 3rd or minor 2nd and their inversions. The second section draws to a close at m.32, returning to the tonic harmony of the key. With the first and second sections complete, the work now proceeds into a developmental section. Mm.33–84 largely consists of development of the two themes by manipulation of intervallic content as well as adjusting the placement of the thematic material withing the accompanimental context. This does include juxtaposition of the two themes (though one typicall becomes integrated into to accompaniment) as can be seen between the violin and viola at m.39. Variety is heightened by the introduction of episodic material such as the secondary melody performed by the clarinet at mm.40–41. The Lento section starting at m.53 introduces further rhythmic and metric adjustment of the thematic content. A varied recapitulation occurs at mm.85–113 and is followed by a coda at mm.114–131.
$19.95 ≈
18.40€
No Longer At Ease for Euphonium Quartet
No Longer At Ease for Euphonium Quartet
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Matthew Nunes
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No Longer At Ease for Euphoniu
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Matthew Nunes Music
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SheetMusicPlus
Euphonium,Low Brass Quartet - Level 5 - SKU: A0.1259405 Composed by Matthew Nunes. 21st Century,Chamber,Contemporary. 33 pages. Matthew Nunes Music #852...
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Euphonium,Low Brass Quartet - Level 5 - SKU: A0.1259405 Composed by Matthew Nunes. 21st Century,Chamber,Contemporary. 33 pages. Matthew Nunes Music #852692. Published by Matthew Nunes Music (A0.1259405). Listen to this piece hereBuyer beware, these are the hardest euphonium parts I've written. Be sure to check out my first euphonium quartet Beacons (2014).No Longer at Ease is a stand-alone euphonium quartet inspired by Chinua Achebe’s 1960 novel of the same name. In Achebe’s novel a young man is sent to University by his village’s elders in the hopes he will return able to guide and protect his people through uncertain and unwanted colonialist developments. However, the man abandons their plans to pursue his own interests and faces the fallout of his actions upon his return home and in the volatile years to come. Reading such an affective work in the final semester of my Masters preparing to return home was timely and I have found the similarities between my life and Achebe’s art blurred. I began writing this work upon returning home to Niceville, Florida and realizing that both myself and the town I call home have changed drastically.     The piece begins with jarring sixteenth-notes derived from a rising arpeggiated-tetrachord. Ceaseless double tonguing, the lead in the fourth euphonium, and unsettling metric shifts combine for unique and frenetic effects. A yearning melody enters amidst this chaos and is a musical spelling of “homeâ€. The return and developments of the frenetic material culminates in a solo statement of this theme. The middle section represents the home of years past and features a uniquely Niceville quote with fragments of the Niceville High School fight song. These fragments make up each independent line and the music culminates in a triumphant victory. However, this victory is cut brief by the cutting sixteenth-note driven material from earlier. The finale is an exciting mockery of the “home†theme with interjections and exploitations of all previous themes. - Matthew NunesNiceville, June 2018.
$24.99 ≈
23.05€
Schubert- Im Fruhling for voice and guitar
Schubert- Im Fruhling for voice and guitar
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Classical
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Franz Schubert
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Evans, Jack
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Schubert- Im Fruhling for voic
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Jack Stanley Evans
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SheetMusicPlus
Small Ensemble Guitar,High Voice - Level 5 - SKU: A0.964300 Composed by Franz Schubert. Arranged by Evans, Jack. Romantic Period. Score and parts. 7 pag...
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Small Ensemble Guitar,High Voice - Level 5 - SKU: A0.964300 Composed by Franz Schubert. Arranged by Evans, Jack. Romantic Period. Score and parts. 7 pages. Jack Stanley Evans #5899371. Published by Jack Stanley Evans (A0.964300). Im Fruhling (In Spring)Reminiscence of lost love is the theme of this song, which depicts a man sat on a hillside overlooking the valley where he spent time with a former lover. The title is both a metaphor for first love, and the season in which the narrative takes place. Each verse describes a different mood experienced by the song’s main character as he reflects upon his experience:1. The memory of happiness2. The difference between past and present3. Resignation to a future without the love lost4. The joy of resurrecting lost happiness in songThe song is in the key of G major apart from the third verse, which modulates to the tonic minor in order to support the change of mood in the lyrics, before returning to the major as the remembered happiness is reborn.This classic Schubert song has been arranged for voice and acoustic guitar in order to provide an alternative accompaniment option for singers who want to perform Schubert’s lieder with guitar instead of piano.
$5.50 ≈
5.07€
1809 - The Solent
1809 - The Solent
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Contemporary
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J Farrow
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1809 - The Solent
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Jamie Farrow
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SheetMusicPlus
Large Ensemble Bassoon,Cello,Clarinet,Flute,Harp,Horn,Multi-Percussion,Viola,Violin - Level 5 - SKU: A0.948672 Composed by J Farrow. Contemporary. Score...
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Large Ensemble Bassoon,Cello,Clarinet,Flute,Harp,Horn,Multi-Percussion,Viola,Violin - Level 5 - SKU: A0.948672 Composed by J Farrow. Contemporary. Score and parts. 66 pages. Jamie Farrow #5983915. Published by Jamie Farrow (A0.948672). Turner’s The Sun Setting Through Vapour was my inspiration because of the different layers and zones of interest which influenced my composition’s structure. The central focus of the painting is the setting sun in the central background of the work. The reflection of the sun draws the eye into the foreground and the market scene in the front right zone. This created the first section of my composition, the idea of the sun setting through the vapour before revealing a market scene which then fades back into the atmospheric sun setting through the vapour. The second section moves to the story of the Napoleonic War ships in the middle and backgrounds of the painting using percussion. Reflecting this the section centres around the narrative of a naval battle; the manoeuvring into position and flexing of strength; the pre-battle planning; the calm before and finally the battle itself. The third section draws together two aspects: the sun setting and the prison ship, drawing us from the aftermath of the battle to the journey back to shore showing the juxtaposing emotions of the imagined victorious British (the piccolo) and French prisoners (the cello). Closer to shore the vapour descends and we hear inflections of the market before returning to the sun setting through the vapour with the harbour clock (Tubular Bells) grounding us in real time.
$3.99 ≈
3.68€
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