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1
Issue 2, Series 1 - Secret Identity from Strange Myths and Wondrous Images - A Comic Book Chronicle
Issue 2, Series 1 - Secret Identity from Strange Myths and Wondrous Images - A Comic Book Chronicle
#
Concert band
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Jason McChristian
#
Issue 2, Series 1 - Secret Ide
#
Jason Gary McChristian
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886119 Composed by Jason McChristian. Contemporary. Score and parts. 67 pages. Jason Gary McChristian #550939. Publishe...
(+)
Concert Band - Level 4 - SKU: A0.886119 Composed by Jason McChristian. Contemporary. Score and parts. 67 pages. Jason Gary McChristian #550939. Published by Jason Gary McChristian (A0.886119). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. Secret Identity - ...CONCEALED IN THE CROWD, A STRANGER FEELS AN UNUSUAL RESONANCE SURGING FROM WITHIN....
$40.00 ≈
36.90€
Issue 3, Series 1 - Henchmen from Strange Myths and Wondrous Images - A Comic Book Chronicle for Con
Issue 3, Series 1 - Henchmen from Strange Myths and Wondrous Images - A Comic Book Chronicle for Con
#
Concert band
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Jason McChristian
#
Issue 3, Series 1 - Henchmen f
#
Jason Gary McChristian
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886120 Composed by Jason McChristian. Contemporary. Score and parts. 124 pages. Jason Gary McChristian #550943. Publish...
(+)
Concert Band - Level 4 - SKU: A0.886120 Composed by Jason McChristian. Contemporary. Score and parts. 124 pages. Jason Gary McChristian #550943. Published by Jason Gary McChristian (A0.886120). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. Henchmen - ...FOUR BRUTES WREAK HAVOC ON THE INNOCENT. THEY CONJURE TERROR AS THEY MOVE THROUGH THE STREETS WITH OMIINOUS GLEE....
$40.00 ≈
36.90€
Issue 6, Series 2 - Trickster from Strange Myths and Wondrous Images - A Comic Book Chronicle for Co
Issue 6, Series 2 - Trickster from Strange Myths and Wondrous Images - A Comic Book Chronicle for Co
#
Concert band
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Jason McChristian
#
Issue 6, Series 2 - Trickster
#
Jason Gary McChristian
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886122 Composed by Jason McChristian. Contemporary. Score and parts. 137 pages. Jason Gary McChristian #552441. Publish...
(+)
Concert Band - Level 4 - SKU: A0.886122 Composed by Jason McChristian. Contemporary. Score and parts. 137 pages. Jason Gary McChristian #552441. Published by Jason Gary McChristian (A0.886122). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. Trickster - ...A NEW TERROR IS ABOUT. TREACHERY AND SEDUCTION ARE ITS SPORT....
$40.00 ≈
36.90€
Issue 10, Series 3 - The Sage from Strange Myths and Wondrous Images - A Comic Book Chronicle for Co
Issue 10, Series 3 - The Sage from Strange Myths and Wondrous Images - A Comic Book Chronicle for Co
#
Concert band
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Jason McChristian
#
Issue 10, Series 3 - The Sage
#
Jason Gary McChristian
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886128 Composed by Jason McChristian. Contemporary. Score and parts. 61 pages. Jason Gary McChristian #553001. Publishe...
(+)
Concert Band - Level 4 - SKU: A0.886128 Composed by Jason McChristian. Contemporary. Score and parts. 61 pages. Jason Gary McChristian #553001. Published by Jason Gary McChristian (A0.886128). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. The Sage - ...A CALL FOR AID ECHOES ACROSS TIME AND SPACE. KNOWING THE STAKES, THE WISE-ONE PREPARES TO TAKE HER PLACE IN THE CHAOS.
$40.00 ≈
36.90€
Issue 8, Series 2 - Inner Struggle from Strange Myths and Wondrous Images - A Comic Book Chronicle f
Issue 8, Series 2 - Inner Struggle from Strange Myths and Wondrous Images - A Comic Book Chronicle f
#
Concert band
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Jason McChristian
#
Issue 8, Series 2 - Inner Stru
#
Jason Gary McChristian
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886125 Composed by Jason McChristian. Contemporary. Score and parts. 89 pages. Jason Gary McChristian #552923. Publishe...
(+)
Concert Band - Level 4 - SKU: A0.886125 Composed by Jason McChristian. Contemporary. Score and parts. 89 pages. Jason Gary McChristian #552923. Published by Jason Gary McChristian (A0.886125). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. Inner Struggle - ...WITH LIVES IN THE BALANCE AND HEROES AND VILLAINS IN THE FRAY, WILL GOOD ENDURE?....
$40.00 ≈
36.90€
Prologue from Strange Myths and Wondrous Images - A Comic Book Chronicle for Concert Band
Prologue from Strange Myths and Wondrous Images - A Comic Book Chronicle for Concert Band
#
Concert band
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Jason McChristian
#
Prologue from Strange Myths an
#
Jason Gary McChristian
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886116 Composed by Jason McChristian. Contemporary. Score and parts. 48 pages. Jason Gary McChristian #550927. Publishe...
(+)
Concert Band - Level 4 - SKU: A0.886116 Composed by Jason McChristian. Contemporary. Score and parts. 48 pages. Jason Gary McChristian #550927. Published by Jason Gary McChristian (A0.886116). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. Prologue - TURNING ITS GAZE EARTHWARDS, A GREAT ENTITY WATCHES FROM THE FARTHEST REACHES OF TIME AND SPACE....
$40.00 ≈
36.90€
Issue 7, Series 2 - The Social Outcast from Strange Myths and Wondrous Images - A Comic Book Chronic
Issue 7, Series 2 - The Social Outcast from Strange Myths and Wondrous Images - A Comic Book Chronic
#
Concert band
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Jason McChristian
#
Issue 7, Series 2 - The Social
#
Jason Gary McChristian
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886124 Composed by Jason McChristian. Contemporary. Score and parts. 70 pages. Jason Gary McChristian #552907. Publishe...
(+)
Concert Band - Level 4 - SKU: A0.886124 Composed by Jason McChristian. Contemporary. Score and parts. 70 pages. Jason Gary McChristian #552907. Published by Jason Gary McChristian (A0.886124). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. The Social Outcast - ...THE FORSAKEN OUTSIDER OFFERS HELP; A GIFT NO ONE CONSIDERED....
$40.00 ≈
36.90€
Issue 9, Series 3 - Dark God from Strange Myths and Wondrous Images - A Comic Book Chronicle for Con
Issue 9, Series 3 - Dark God from Strange Myths and Wondrous Images - A Comic Book Chronicle for Con
#
Concert band
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Jason McChristian
#
Issue 9, Series 3 - Dark God f
#
Jason Gary McChristian
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886126 Composed by Jason McChristian. Contemporary. Score and parts. 47 pages. Jason Gary McChristian #552999. Publishe...
(+)
Concert Band - Level 4 - SKU: A0.886126 Composed by Jason McChristian. Contemporary. Score and parts. 47 pages. Jason Gary McChristian #552999. Published by Jason Gary McChristian (A0.886126). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. Dark God - ...THE WORST DREAD APPROACHES THE CITY....
$40.00 ≈
36.90€
Issue 4, Series 1 - A Hero's Anthem from Strange Myths and Wondrous Images - A Comic Book Chronicle
Issue 4, Series 1 - A Hero's Anthem from Strange Myths and Wondrous Images - A Comic Book Chronicle
#
Concert band
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
Jason McChristian
#
Issue 4, Series 1 - A Hero's A
#
Jason Gary McChristian
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886121 Composed by Jason McChristian. Contemporary. Score and parts. 49 pages. Jason Gary McChristian #552335. Publishe...
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Concert Band - Level 4 - SKU: A0.886121 Composed by Jason McChristian. Contemporary. Score and parts. 49 pages. Jason Gary McChristian #552335. Published by Jason Gary McChristian (A0.886121). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. A Hero's Anthem - ...FROM THE DESTRUCTION A CRY IS HEARD, FROM THE CROWD A HERO EMERGES....
$40.00 ≈
36.90€
Issue 1, Series 1 - The City from Strange Myths and Wondrous Images - A Comic Book Chronicle for Con
Issue 1, Series 1 - The City from Strange Myths and Wondrous Images - A Comic Book Chronicle for Con
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Concert band
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INTERMEDIATE/ADVANCED
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Contemporary
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Jason McChristian
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Issue 1, Series 1 - The City f
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886118 Composed by Jason McChristian. Contemporary. Score and parts. 108 pages. Jason Gary McChristian #550933. Publish...
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Concert Band - Level 4 - SKU: A0.886118 Composed by Jason McChristian. Contemporary. Score and parts. 108 pages. Jason Gary McChristian #550933. Published by Jason Gary McChristian (A0.886118). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. The City - ...AMONG THE DENSE CITYSCAPE, AN UNFAMILIAR PRESENCE WEAVES THROUGH THE CROWD AND THE NOISE....
$40.00 ≈
36.90€
Issue 5, Series 2 - Promises from Strange Myths and Wondrous Images - A Comic Book Chronicle for Con
Issue 5, Series 2 - Promises from Strange Myths and Wondrous Images - A Comic Book Chronicle for Con
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Concert band
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INTERMEDIATE/ADVANCED
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Contemporary
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Jason McChristian
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Issue 5, Series 2 - Promises f
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886123 Composed by Jason McChristian. Contemporary. Score and parts. 55 pages. Jason Gary McChristian #552421. Publishe...
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Concert Band - Level 4 - SKU: A0.886123 Composed by Jason McChristian. Contemporary. Score and parts. 55 pages. Jason Gary McChristian #552421. Published by Jason Gary McChristian (A0.886123). This work is comprised of three series, each series contains four issues. It may be performed in a number of different ways; each issue or series may be performed separately or, the entire work, consisting of twelve issues and a Prologue, may be performed as a whole. In its entirety, the running time of Strange Myths and Wondrous Images is approximately forty-five minutes. Each issue represents an element: either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths and Wondrous Images tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, while the formal structure suggests the traditional symphonic form. ​ Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained. Promises - ...STRENGTH IS SUMMONED AND PROMISES ARE MADE....
$40.00 ≈
36.90€
Series 3 from Strange Myths and Wondrous Images - A Comic Book Chronicle for Concert Band
Series 3 from Strange Myths and Wondrous Images - A Comic Book Chronicle for Concert Band
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Concert band
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INTERMEDIATE/ADVANCED
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Contemporary
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Jason Gary McChristian
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Series 3 from Strange Myths an
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886158 Composed by Jason Gary McChristian. Contemporary. Score and parts. 243 pages. Jason Gary McChristian #4354563. P...
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Concert Band - Level 4 - SKU: A0.886158 Composed by Jason Gary McChristian. Contemporary. Score and parts. 243 pages. Jason Gary McChristian #4354563. Published by Jason Gary McChristian (A0.886158). This series contains four issues. Each issue may be performed separately or may be performed as a whole. The Prologue, sold separately, may also be performed at the beginning of the series. Each issue represents an element, either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, suggesting the traditional symphonic form. Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained.
$100.00 ≈
92.25€
Series 1 from Strange Myths and Wondrous Images - A Comic Book Chronicle for Concert Band
Series 1 from Strange Myths and Wondrous Images - A Comic Book Chronicle for Concert Band
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Concert band
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INTERMEDIATE/ADVANCED
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Contemporary
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Jason McChristian
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Series 1 from Strange Myths an
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886153 Composed by Jason McChristian. Contemporary. Score and parts. 338 pages. Jason Gary McChristian #4349071. Publis...
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Concert Band - Level 4 - SKU: A0.886153 Composed by Jason McChristian. Contemporary. Score and parts. 338 pages. Jason Gary McChristian #4349071. Published by Jason Gary McChristian (A0.886153). This series contains four issues. Each issue may be performed separately or may be performed as a whole. The Prologue, sold separately, may also be performed at the beginning of the series. Each issue represents an element, either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, suggesting the traditional symphonic form. Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained.
$100.00 ≈
92.25€
Series 2 from Strange Myths and Wondrous Images - A Comic Book Chronicle for Concert Band
Series 2 from Strange Myths and Wondrous Images - A Comic Book Chronicle for Concert Band
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Concert band
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INTERMEDIATE/ADVANCED
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Contemporary
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Jason McChristian
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Series 2 from Strange Myths an
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Jason Gary McChristian
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.886155 Composed by Jason McChristian. Contemporary. Score and parts. 348 pages. Jason Gary McChristian #4351469. Publis...
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Concert Band - Level 4 - SKU: A0.886155 Composed by Jason McChristian. Contemporary. Score and parts. 348 pages. Jason Gary McChristian #4351469. Published by Jason Gary McChristian (A0.886155). This series contains four issues. Each issue may be performed separately or may be performed as a whole. The Prologue, sold separately, may also be performed at the beginning of the series.Each issue represents an element, either an archetype, place, or an emotion, commonly found in comic book stories. As a whole, Strange Myths tells a particular story arc, one that is intentionally void of specific details, inviting the listener to imagine the particulars. Each series also contains its own sub-plot and emotional progression, suggesting the traditional symphonic form. Each issue has a duration of three to four minutes, limited to a small, but intensely expressive amount of thematic material. The challenge inherent in this limitation was to create enough contrast, yet not so much as to require more time to resolve it, therefore, each issue is self-contained.
$100.00 ≈
92.25€
Strange Intent
Strange Intent
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String Quartet: 2 violins, viola, cello
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Contemporary
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Winthrop Brookhouse
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Strange Intent
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winthrop brookhouse
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SheetMusicPlus
String Quartet Cello,Double Bass,String Quartet,Viola,Violin - SKU: A0.980196 Composed by Winthrop Brookhouse. Contemporary. Score and parts. 10 pages. ...
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String Quartet Cello,Double Bass,String Quartet,Viola,Violin - SKU: A0.980196 Composed by Winthrop Brookhouse. Contemporary. Score and parts. 10 pages. Winthrop brookhouse #3399359. Published by winthrop brookhouse (A0.980196). A string ensemble piece scored for 2 violins, viola, cello and bass. A deep, warm harmonically rich piece. Tempo is 100 bmp and resides in the key of E flat. The meter is 5/4. Time 4:14. Member of BMI.
$3.99 ≈
3.68€
From a Diary of a Child
From a Diary of a Child
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Piano solo
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EASY
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Panagiotis Theodossiou
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From a Diary of a Child
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Panagiotis Theodossiou
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.886642 Composed by Panagiotis Theodossiou. Children,Concert,Contemporary,Standards. Score. 51 pages. Panagiotis Theodossi...
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Piano Solo - Level 2 - SKU: A0.886642 Composed by Panagiotis Theodossiou. Children,Concert,Contemporary,Standards. Score. 51 pages. Panagiotis Theodossiou #2914377. Published by Panagiotis Theodossiou (A0.886642). 30 Short Children Pieces for Piano Solo (2007)The life of a child reveals and hides inside images and sentiments, sounds and experiences, questions and concerns. Parts of a world lost forever but treasured in the adult soul.From First Day, First Page of the diary and Sunday’s Joybells to the Bittersweet morning dances and the Calm of a Sunny Afternoon, from A Sudden Absence and a Strange Question to the Loneliness and Dream, from the imaginary Indian Dance to the Walkin’ on a Rainy Day and from March of the Goose to the Flowers’ Waltz, Lullaby and Farewell Song, these Diary of a Child pages unfold the thread of a very well known memory, a memory of us all.These 30 short piano pieces were composed between 2003 and 2007. Some of them are compositions of inspired children, composer’s pupils, like Orsaki Roussetou and Plato Tsoukatos-Pontikis.This collection is dedicated to all composer’s pupils and especially toy Nikos Karidis, the grown up child who gave me the opportunity to write most of the pieces presented. The work was recorded by Dimitra Mane on cd for the upcoming edition.. The artist performed parts of the work in composer's personal Portrait organized by Greek Composers Union at Hellenic Conservatory in Maroussi in 2010 and the whole collection at Mikros Horos Tehnis (Little Hall of Arts) in Glyfada, Attiki, in 2015. Parts of the work had been performed also by Eleni Papaspyrou students, from Herakleion Music School, in Theatrical Station, Herakleion, Crete and at Lillian Voudouri Library Hall in Athens Concert Hall in 2015.39. Jeux pour Deux for two pianos (2007)A work of neoclassical character with influences from jazz idiom. It is dedicated to the piano duo Dimitra Mane – Andy Miliory and to Maurice Ravel in the musical style of whom there are intentional references - by which was performed at Athenaeum Concert Hall Athens in 2008. The work have been secondly performed by Ting Ke and Chenshayang Huang at Boston University Concert Hall under Spring 14 Piano Ensemble Juries (K. Papadakis piano class) in 2014 and by Effie Agrafioti and Giorgos Kontrafouris in D. Mitropoulos Hall, Athens Concrt Hall in 2015.https://www.youtube.com/watch?v=jI62IN0xdA0
$12.99 ≈
11.98€
Social Lubrication
Social Lubrication
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Piano, Vocal and Guitar
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INTERMEDIATE
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Zane Kuchera
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Zane Kuchera
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Social Lubrication
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Zane Kuchera Music
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1187243 By Zane Kuchera. By Zane Kuchera. Arranged by Zane Kuchera. Broadway,Contemporary,Film/TV,Jazz,Musi...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1187243 By Zane Kuchera. By Zane Kuchera. Arranged by Zane Kuchera. Broadway,Contemporary,Film/TV,Jazz,Musical/Show,Singer/Songwriter. Score. 5 pages. Zane Kuchera Music #786874. Published by Zane Kuchera Music (A0.1187243). Contemporary Jazz in the style of Burt Bacharach, Herb Alpert, Henry Mancini. Story about being alone in a bar or nightclub, feeling social anxiety and needing alcohol as a social lubrication to talk to strangers, but being aware of their masks, falsehoods, and manipulation, anything to connect with someone at any level:Barmaid, smooth out my feathers, pour me some libation, a crowded situation, give me social lubrication.Striding, smiling wide and needing conversation, got my glass of strong libation, my social lubrication.Communal entertainment, cordial faces worn like masks, they hide intent by slick conversation, consuming lies in search of relations.Empty, nobody knows me remove my hesitation, a meaningless flirtation, with social lubrication.Communal entertainment, cordial faces worn like masks, they hide intent by slick conversation, consuming lies in search of relations.Social lubrication.
$4.99 ≈
4.60€
Triad Chord Worksheet
Triad Chord Worksheet
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Guitar notes and tablatures
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BEGINNER
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Instructional
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Brian Streckfus
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Triad Chord Worksheet
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 1 - SKU: A0.1175289 Composed by Brian Streckfus. Instructional. Guitar Tab. 5 pages. Brian Streckfus #774500. Published by Brian Streckfu...
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Guitar - Level 1 - SKU: A0.1175289 Composed by Brian Streckfus. Instructional. Guitar Tab. 5 pages. Brian Streckfus #774500. Published by Brian Streckfus (A0.1175289). Pages: 5 (84 chords to name)Objective:Instead of learning chords one by one, you instead learn how to build chords yourself. Also, this mindset helps in composing, because instead of seeing things as wrong chord versus correct chord, you simply see it as every harmony as a name. Like many things in life, theoritcal concepts can allow you to formulate thousands of outcomes in a single day. Tips:1. You start counting from 0 for this exercise if that makes any sense. Avoid the common fence post error by overcounting by 1. Other times you start counting from 1 in music is when talking about scale degrees. What is the distance from C to E? C(0) C#(1) D(2) D#(3) E(4).2. Use the chromatic scale at the top to help in counting.3. E# = F...Fb = E...B# = C...Cb = B...In otherwords, don't let strange enharmonics confuse you. Picture the black key sometimes missing between white keys on a piano in your mind if it helps. 4. Even though enharmonics like E# can seem confusing, they can actually add clarity sometimes because they cause the chord to stack perfectly in the sheet music and letter names. A# C# E#...versus...A# C# F...Sure, F is easier to understand in a part, but it actually makes the harmony harder to understand because not it looks like it isn't 3rds, even though it is.5. I included tab just to make this worksheet a little bit more interesting; however, the guitar chords that result are NOT practical. Voicings of common guitar chords are much more spread out, and often contain more duplicate letter names. Practical guitar chords is sort of a different conversation. I sort of did this intentionally to prove that perfectly stacked voicings do not work well on guitar. C E G Bb perfectly in order in harmony, sounds like it would be easy on guitar, but it is not.6. To make this more practical on guitar, I recommend building the chords yourself by simply knowing letter names well on guitar. The next time something asks for G major, don't just play a common voicing, actually find G B D randomly on the guitar neck. 7. Often the fifth of a chord is removed since it is the least important to invoking the flavor of the chord. This is especially true on guitar because we quickly run out of fingers and strings.8. The nature of the piano lends pianists to constantly seeing these distances on a linear plane. Conversely, guitar is a very murky instrument since the real distances of pitches is counterintuitive to arbitrary (usually) fret numbers! That is why many guitarists would benefit from thinking this way, instead of thinking of chords simply as shapes (which is also important for different reasons). In other words, try to build a chord on one string on guitar. It is impractical, but the half step distances required for chords will make much more sense.To Do:1. Slight differences in how the sheet look need to be made similiar.2. Remove green line.
$1.99 ≈
1.84€
Mostly That
Mostly That
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Jazz Ensemble
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Jack Myers
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Mostly That
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Jack Myers
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - SKU: A0.1027576 Composed by Jack Myers. Blues,Jazz. Score and parts. 1 pages. Jack Myers #2163165. Published by Jack Myers...
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Jazz Ensemble Jazz Ensemble - SKU: A0.1027576 Composed by Jack Myers. Blues,Jazz. Score and parts. 1 pages. Jack Myers #2163165. Published by Jack Myers (A0.1027576). Mostly That is a lead sheet written in RealBook style, which can be played in many settings by a soloist or other jazz combo. It has a 24 bar form, fusion feel and sounds great with a strong back-beat behind its 3/4 time. I chose the key of E Major so that the 6 string guitar could utilize the lowest of its open strings tuned to standard tuning. It really opens up the fret-board. The chord-changes and melody break away from the key slightly at times, to create some dissonance and fluctuation. The solos section evokes blues and a bit of grit with the use of the dominant #9 and flat9. Play the solos with intention and vigor. The title was inspired by a brief conversation I had with a stranger in New York City. I was asked a rather broad question and didn't have a response so I said, Mostly That. Thanks for your interest in my new tune. Let me know if you dig it. Jackhttps://soundcloud.com/jackmyersmusicHere is how to send a message on SoundCloud...http://goo.gl/UPxYkV
$3.99 ≈
3.68€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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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)
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Strange Intent
