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Monteverdi - The Fifth Book of Madrigals (1605) - 10. Deh Bella e Cara
Monteverdi - The Fifth Book of Madrigals (1605) - 10. Deh Bella e Cara
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Brass ensemble
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INTERMEDIATE
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Classical
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Fifth Book of
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble - Level 3 - Digital Download SKU: A0.767248 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. ...
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Brass Ensemble - Level 3 - Digital Download SKU: A0.767248 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 16 pages. Lyons Music Services #3121599. Published by Lyons Music Services (A0.767248). The Fifth book of madrigals starts to see much more development towards operatic style writing, with more songs being strung together to form scenas and with the addition of accompaniment on instruments. Some of these songs can be written by incorporating the accompaniment into the parts for those instruments which are resting, some will require more than a quintet. Certainly as we get into the next three books, reduction to a quintet will become increasingly more difficult, if not impossible. Song 10 goes into some detail about how he wants his lover to do the deed three times!
$5.99 ≈
5.60€
I'm Trying to Be Like Jesus
I'm Trying to Be Like Jesus
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Piano solo
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INTERMEDIATE/ADVANCED
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Janice Kapp Perry
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Mark Gubler
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I'm Trying to Be Like Jesus
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Mark Gubler
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1307229 Composed by Janice Kapp Perry. Arranged by Mark Gubler. Children,Christian,New Age,Religious,Sacr...
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Piano Solo - Level 4 - Digital Download SKU: A0.1307229 Composed by Janice Kapp Perry. Arranged by Mark Gubler. Children,Christian,New Age,Religious,Sacred. Score. 5 pages. Mark Gubler #896486. Published by Mark Gubler (A0.1307229). The gospel of Jesus Christ is simple. We are commanded to love God and everyone around us. All the other commandments are given to point us to these two great commandments. In this arrangement the music surrounding the lyrics love one another as Jesus loves you keeps coming back throughout. It represents that though we may get distracted by all the things that we feel we should be doing, there is power in always returning and centering our lives around loving as Jesus loves.Song Lyrics 1. I’m trying to be like Jesus; I’m following in his ways. I’m trying to love as he did, in all that I do and say. At times I am tempted to make a wrong choice, But I try to listen as the still small voice whispers, “Love one another as Jesus loves you. Try to show kindness in all that you do. Be gentle and loving in deed and in thought, For these are the things Jesus taught.†2. I’m trying to love my neighbor; I’m learning to serve my friends. I watch for the day of gladness when Jesus will come again. I try to remember the lessons he taught. Then the Holy Spirit enters into my thoughts, saying: “Love one another as Jesus loves you. Try to show kindness in all that you do. Be gentle and loving in deed and in thought, For these are the things Jesus taught.â€.
$4.99 ≈
4.67€
Aria from the Opera Orfeo ed Euridice for Brass Quintet (French Horn solo)
Aria from the Opera Orfeo ed Euridice for Brass Quintet (French Horn solo)
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE/ADVANCED
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Christoph Willibald Gluck,
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Keith Terrett
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Aria from the Opera Orfeo ed E
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Keith Terrett
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1446054 Composed by Christoph Willibald Gluck,. Arranged by Keith Terrett. ...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1446054 Composed by Christoph Willibald Gluck,. Arranged by Keith Terrett. Classical,Contest,Festival,Historic,Instructional,Opera. 16 pages. Keith Terrett #1025876. Published by Keith Terrett (A0.1446054). Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's reform operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a noble simplicity in both the music and the drama.The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot—the underground rescue mission in which the hero must control, or conceal, his emotions—can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold.Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes.Ther picture is Count Francesco Algarotti, an Italian polymath, philosopher, poet, essayist, anglophile, art critic and art collector. He was a man of broad knowledge, an expert in Newtonianism, architecture and opera. He was a friend of Frederick the Great and leading authors of his times: Voltaire, Jean-Baptiste de Boyer, Marquis d'Argens, Pierre-Louis de Maupertuis and the atheist Julien Offray de La Mettrie. Lord Chesterfield, Thomas Gray, George Lyttelton, Thomas Hollis, Metastasio, Benedict XIV and Heinrich von Brühl were among his correspondents.''The Sicilienne and Rigaudon is one of the many pieces that violin virtuoso Fritz Kreisler composed in the style of other composers. When he first presented and published these pieces, he offered them as recently discovered works by those other composers, newly adapted and arranged by himself. In the case of Sicilienne and Rigaudon, it is eighteenth-century French violinist/composer François Francoeur whose name is on the title sheet, though the piece really has nothing to do with Francoeur's style.The piece is a simple and a charming one, however. The Sicilienne is a binary-form miniature that sweeps along on a characteristic dotted rhythm, with a rather melancholy melody. Think old French ballet. The constant 16th notes of the Rigaudon, give it a character quite unlike that of a traditional rigaudon-a cheerful Baroque dance movement in duple meter.
$8.99 ≈
8.41€
They Who Decide Fate
They Who Decide Fate
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Flute, Oboe, Clarinet, Bassoon
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ADVANCED
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Brandon Nelson
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They Who Decide Fate
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Brandon Nelson
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet - Level 5 - Digital Download SKU: A0.912906 Composed by Brandon Nelson. Concert,Contemporary. 93 pages. Brandon Nelson...
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Woodwind Ensemble,Woodwind Quartet - Level 5 - Digital Download SKU: A0.912906 Composed by Brandon Nelson. Concert,Contemporary. 93 pages. Brandon Nelson #1954835. Published by Brandon Nelson (A0.912906). Imagine the terrifying prospect of having your fate-indeed, the fate of the entire universe-decided by the fickle whims of seven gods! This was life for all those who dwelled in the ancient society of Sumeria! They Who Decide Fate paints the picture of what living with these gods might have been like for those pitiable mortals. The introduction builds to the dreadful fate theme, which is woven within the rest of the piece. In the first episode, the Eb clarinet is highlighted depicting Enki, the magical, clever Lord of the Earth. Crafty and mischievous, one would not cross this god, so mighty he was said to have created the Tigris and Euphrates rivers between which the entire Sumerian world existed! The full orchestra comes roaring back to represent Shamash, the Lion of Justice. Bringing wrongdoers their just due, he could also be merciful, curing the faithful sick who plead for his mercy. The second episode is gently ushered in by the Basset horn. Featured here is Ninhursag, the mild, nurturing Mother Goddess. It was said that any couple who desired to be fertile would do well to propitiate themselves to herâ?¦ An explosive, percussive jolt fanfares in Inanna, wild, untamed Goddess of Primal Passions! Whether in war or in lust, Inanna stood for all things raw-and ultimately destructive! The low, rumbling voice of the contralto clarinet brings us Anu, Father of the Gods. Ancient and wise, Anu is the manifestation of the heavenly vault. Nanna, the moon god riding on the back of a bull, illuminated the night sky. Sparkling and light colors of the orchestra depict his deft, spry nocturnal motions. The sinuous lines of the Bb clarinet illustrate Enlil, fickle God of Wind and Weather. It is said that it was he who created humans, but lost interest in them and flooded the whole earth. The whole clarinet quartet reprises the fate theme one last time, ending in an exultant flurry, reflecting both the fear and ecstasy that these seven gods inspired in their mortal charges. Learn more about me: bnelsonmusic.wordpress.com.
$89.99 ≈
84.20€
I Need Thee Every Hour - Piano and Organ Arrangement
I Need Thee Every Hour - Piano and Organ Arrangement
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Organ
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Sacred music
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Annie S
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Jacob Hershberger
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I Need Thee Every Hour - Piano
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Jasberger Music
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SheetMusicPlus
Organ,Piano - Digital Download SKU: A0.1072082 Composed by Annie S. Hawks. Arranged by Jacob Hershberger. Christian,Sacred,Spiritual. Accompaniment. Dura...
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Organ,Piano - Digital Download SKU: A0.1072082 Composed by Annie S. Hawks. Arranged by Jacob Hershberger. Christian,Sacred,Spiritual. Accompaniment. Duration 289. Jasberger Music #6009677. Published by Jasberger Music (A0.1072082). Jacob Hershberger performs his new arrangement of I Need Thee Every Hour on both the piano and organ.. Just not at the same time ;) http://www.youtube.com/watch?v=v3D8ACXhnyU&feature=youtu.beThe softness of the piano and it's marriage to the organ make this a powerful arrangement with a lot of hidden spiritual messages in the arrangement. One such message is the differences in time in some of the organ and piano parts. The organ represents the us in the different stages of our lives. The piano represents Heavenly Father and his constant presence in our lives. He is always there steady and available, all we have to do is sync up with him through prayer and he will lead us ever onward through our mortal sojourn on earth.At the end of the video is the following scripture: Yea, I know that God will give liberally to him that asketh. Yea, my God will give me, if I ask not amiss; therefore I will lift up my voice unto thee; yea, I will cry unto thee, my God, the rock of my righteousness. Behold, my voice shall forever ascend up unto thee, my rock and mine everlasting God. Amen. ~2 Nephi 4:35 I hope you enjoy this beautiful arrangement of I need thee every hour. www.JasbergerMusic.com 1. I need thee ev’ry hour, Most gracious Lord. No tender voice like thine Can peace afford. [Chorus] I need thee, oh, I need thee; Ev’ry hour I need thee! Oh, bless me now, my Savior; I come to thee! 2. I need thee ev’ry hour; Stay thou nearby. Temptations lose their pow’r When thou art nigh. 3. I need thee ev’ry hour, In joy or pain. Come quickly and abide, Or life is vain. 4. I need thee ev’ry hour, Most holy One. Oh, make me thine indeed, Thou blessed Son!
$1.99 ≈
1.86€
Penitent Thief, The (for viola and piano)
Penitent Thief, The (for viola and piano)
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Viola, Piano
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ADVANCED
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David M
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Penitent Thief, The
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David Sterrett Music
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SheetMusicPlus
Piano,Viola - Level 5 - Digital Download SKU: A0.1039822 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and part. 49 pages. David St...
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Piano,Viola - Level 5 - Digital Download SKU: A0.1039822 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and part. 49 pages. David Sterrett Music #644666. Published by David Sterrett Music (A0.1039822). This piece depicts the story of the Penitent Thief, one of the two other men who hung on a cross beside Jesus, as told in the Bible: One of the thieves who were hanged by Jesus was hurling abuse at him, saying, 'Are you not the Christ? Save yourself and us!' But the other answered, and rebuking him, said, 'Do you not even fear God, since you are under the same sentence of condemnation? We indeed are suffering justly, for we are receiving what we deserve for our deeds; but this man has done nothing wrong.' And he was saying, 'Jesus, remember me when you come into your kingdom!' And Jesus said to him, 'Truly I say to you, today you will be with me in Paradise.' (Luke 23:39-43) I initially set out to portray the scene from a narrative perspective. As I began composing and felt the story resonate more and more with my own spiritual experiences, I decided to shift the focus onto what I imagined the emotional and spiritual experiences of the Penitent Thief were during this brief but transformative interaction with Jesus right before death. While the passage does not describe his internal experience, I imagine that Jesus’ extension of kindness and mercy, along with the promise “Today you will be with me in Paradise,†profoundly impacted him. In composing this, I hoped to convey that transformative encounter. Ultimately, The Penitent Thief depicts an experience familiar to many Christians: that of a lost and broken soul discovering Jesus offers the truth and salvation they long for. To capture the element of dialog, I envisioned the Viola as the Penitent Thief and the Piano as Jesus. Each has a distinct theme/motif. On the cross, the Penitent Thief is consumed by shame, sorrow, and fear of death. His demeanor shifts between moments of quiet contemplation and visceral emotional outbursts. Facing imminent death, he yearns for redemption and truth. He looks at Jesus hanging next to him, blameless and holy. He feels admiration and praise and is overcome by penitence and humility. He calls out, half in desperation, half in worship: “Jesus, remember me when you come into your Kingdom…†Jesus, moved by his penitence and belief, responds with kindness and mercy, extending salvation: Today you will be with me in Paradise.†The Penitent Thief imagines Paradise and hopes for this to hold true. His hope becomes briefly overshadowed by lingering doubt and fear. Silence falls. Then, as the hour of death arrives, the man reaches out again and clings to Jesus’ promise, this time with more desperation. His soul suddenly becomes filled with joy, finding the fulfillment of longing, bound with Christ, and knowing that he will soon be at rest in Paradise. At peace, the man gazes upward, gives his final sputtering breath, and his soul departs this world.
$24.99 ≈
23.38€
Penitent Thief, The
Penitent Thief, The
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Viola and Harp
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ADVANCED
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David M
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Penitent Thief, The
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David Sterrett Music
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SheetMusicPlus
Instrumental Duet Harp,Instrumental Duet,Viola - Level 5 - Digital Download SKU: A0.1039821 Composed by David M. Sterrett. Classical,Contemporary,Sacred....
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Instrumental Duet Harp,Instrumental Duet,Viola - Level 5 - Digital Download SKU: A0.1039821 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and parts. 49 pages. David Sterrett Music #644665. Published by David Sterrett Music (A0.1039821). This piece depicts the story of the Penitent Thief, one of the two other men who hung on a cross beside Jesus, as told in the Bible: One of the thieves who were hanged by Jesus was hurling abuse at him, saying, 'Are you not the Christ? Save yourself and us!' But the other answered, and rebuking him, said, 'Do you not even fear God, since you are under the same sentence of condemnation? We indeed are suffering justly, for we are receiving what we deserve for our deeds; but this man has done nothing wrong.' And he was saying, 'Jesus, remember me when you come into your kingdom!' And Jesus said to him, 'Truly I say to you, today you will be with me in Paradise.' (Luke 23:39-43) I initially set out to portray the scene from a narrative perspective. As I began composing and felt the story resonate more and more with my own spiritual experiences, I decided to shift the focus onto what I imagined the emotional and spiritual experiences of the Penitent Thief were during this brief but transformative interaction with Jesus right before death. While the passage does not describe his internal experience, I imagine that Jesus’ extension of kindness and mercy, along with the promise “Today you will be with me in Paradise,†profoundly impacted him. In composing this, I hoped to convey that transformative encounter. Ultimately, The Penitent Thief depicts an experience familiar to many Christians: that of a lost and broken soul discovering Jesus offers the truth and salvation they long for. To capture the element of dialog, I envisioned the Viola as the Penitent Thief and the Harp as Jesus. Each has a distinct theme/motif. On the cross, the Penitent Thief is consumed by shame, sorrow, and fear of death. His demeanor shifts between moments of quiet contemplation and visceral emotional outbursts. Facing imminent death, he yearns for redemption and truth. He looks at Jesus hanging next to him, blameless and holy. He feels admiration and praise and is overcome by penitence and humility. He calls out, half in desperation, half in worship: “Jesus, remember me when you come into your Kingdom…†Jesus, moved by his penitence and belief, responds with kindness and mercy, extending salvation: Today you will be with me in Paradise.†The Penitent Thief imagines Paradise and hopes for this to hold true. His hope becomes briefly overshadowed by lingering doubt and fear. Silence falls. Then, as the hour of death arrives, the man reaches out again and clings to Jesus’ promise, this time with more desperation. His soul suddenly becomes filled with joy, finding the fulfillment of longing, bound with Christ, and knowing that he will soon be at rest in Paradise. At peace, the man gazes upward, gives his final sputtering breath, and his soul departs this world.
$24.99 ≈
23.38€
IWOMAH? (DO YOU STILL LOVE ME?) Piano/Vocal Arrangement
IWOMAH? (DO YOU STILL LOVE ME?) Piano/Vocal Arrangement
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Piano, Voice
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INTERMEDIATE
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Chinese Lyrics by HU XING - TI
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ROBERT VAN HORNE
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IWOMAH?
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White Piano International Publishing
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1415786 Composed by Chinese Lyrics by HU XING - TING 胡ç»å»· and Music by ROBERT VAN HO...
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1415786 Composed by Chinese Lyrics by HU XING - TING 胡ç»å»· and Music by ROBERT VAN HORNE. Arranged by ROBERT VAN HORNE. Instructional,Multicultural,New Age,Romantic Period,Singer/Songwriter,World. Score. 6 pages. White Piano International Publishing #997105. Published by White Piano International Publishing (A0.1415786). IWOMAH? (DO YOU STILL LOVE ME?) Piano/Vocal by ROBERT VAN HORNE & HU XING - TING 胡ç»å»·6 pagesIWOMAH? (DO YOU STILL LOVE ME?) was initially composed and published as a piano solo back in 1993. Currently featured on Robert's album “CHINA LOVE,†this piece is available as an early and advanced intermediate piano solo for purchase on SHEET MUSIC PLUS and SHEET MUSIC DIRECT.The term IWOMAH? spoken phonetically in Mandarin, with the appropriate accents, translates to Do You Still Love Me? I found this invented phrase to be a fitting title for this composition, as it captures the theme of love and the challenges lovers face in traditional Chinese songs.In the early 2000s, Mr. Hu Xing-Ting 胡ç»å»·, a well-known lyricist from Beijing, China, penned lyrics for IWOMAH? (DO YOU STILL LOVE ME?) as well as other tracks from “CHINA LOVE.†His visit to California in 2004, part of a cultural exchange program, provided an opportunity for me to meet him, a honor indeed.Despite my lack of proficiency in Chinese, his lyrics are universally regarded as warm and profound. The Piano/Vocal Sheet Music of IWOMAH? (DO YOU STILL LOVE ME?) includes a clearly notated piano accompaniment alongside vocal parts and chord symbols, offering comprehensive guidance for singers (proficient in Chinese characters) and pianists aiming for an expressive rendition.IWOMAH? (DO YOU STILL LOVE ME?) is a beautifully melodic piece suitable for vocalists who give concerts and recitals, appealing even to those unfamiliar with Mandarin. Currently, there are no English lyrics to this piece. Originally in the key of E Flat, it boasts universal charm.For those interested, a performance of Robert playing IWOMAH? (DO YOU STILL LOVE ME?) as a piano solo without vocals can be enjoyed on YouTube at: http://www.youtube.com/watch?v=zgjmV4yl9zEPublished by White Piano International PublishingRobert Van Horne is a long standing member of ASCAP.Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.com.
$4.99 ≈
4.67€
Fantasy on a Mozart Theme
Fantasy on a Mozart Theme
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Guitar
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INTERMEDIATE
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Classical
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Rod Whittle
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for solo classical guitar
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Fantasy on a Mozart Theme
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899126 Composed by Rod Whittle. Classical. Individual part. 4 pages. Maggie Creek Music #37277. Publishe...
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Solo Guitar - Level 3 - Digital Download SKU: A0.899126 Composed by Rod Whittle. Classical. Individual part. 4 pages. Maggie Creek Music #37277. Published by Maggie Creek Music (A0.899126). 4 pages; for solo classical guitar; based on a theme from the Mass in C Minor; published by Maggie Creek MusicWolfgang Amadeus Mozart 1756 -1791 Mozart, whom his sister recounted as picking out thirds on the family clavier at the age of three for the pleasure of it, has been described as achieving miracles of sound across every emotion. Indeed one runs out of superlatives trying to do justice to the quality and originality of his compositions and the abundance of output. Anyone learning about his relatively short life must also pay tribute to his resolve and courage. I've noticed during my time in bands that the music I like sparks creativity, and the lovely theme from the Kyrie of the Mass in C minor spawned a lot of ideas once I'd decided to write something for guitar using it. Mozart's harmonies seem both exclusive and perfect, and I can't imagine my musical life without them. I got to know the Mass when I looked after Nigel's place while he was away, as it was in his record collection. My good friend died (of bone cancer) not long after that, and the Fantasy is a homage to him.
$5.00 ≈
4.68€
The Adventures of Dick Whittington - 17. Let Kindness Begin with Me - Accompaniment
The Adventures of Dick Whittington - 17. Let Kindness Begin with Me - Accompaniment
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Piano solo
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Betsy Lee Bailey
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The Adventures of Dick Whittin
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Betsy Lee Bailey
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SheetMusicPlus
Piano - Digital Download SKU: A0.1064912 Composed by Betsy Lee Bailey. Broadway,Children,Musical/Show. Accompaniment. Duration 68. Betsy Lee Bailey #2040...
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Piano - Digital Download SKU: A0.1064912 Composed by Betsy Lee Bailey. Broadway,Children,Musical/Show. Accompaniment. Duration 68. Betsy Lee Bailey #2040133. Published by Betsy Lee Bailey (A0.1064912). Accompaniment tracks to Let Kindness Begin with Me is from the Children's Musical The Adventures of Dick Whittington. It is sung by Dick as he makes the decision to do a good deed. The Director's Script, Piano/Vocal Score, Production Kit, and individual Accompaniment Tracks MP3s are available on SheetMusicPlus. For more information go to BaileyKidsMusicals.com.
$3.99 ≈
3.73€
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 - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.45€
Brighten the Corner Where You Are (Violin and Cello Duet with Piano Accompaniment)
Brighten the Corner Where You Are (Violin and Cello Duet with Piano Accompaniment)
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Piano Trio: piano, violin, cello
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EASY
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Sacred music
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Charles H
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Sharon Wilson
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Brighten the Corner Where You
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Sharon Wilson
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SheetMusicPlus
Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.1050451 By Charles H. Gabriel and Sharon Wilson. By Charles H. Gabriel...
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Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.1050451 By Charles H. Gabriel and Sharon Wilson. By Charles H. Gabriel, Charles Hutchinson Gabriel, and Ina Duley Ogdon. Arranged by Sharon Wilson. Children,Instructional,Praise & Worship,Sacred,Traditional. Score and parts. 17 pages. Sharon Wilson #654806. Published by Sharon Wilson (A0.1050451). Here is a fun and upbeat instrumental trio arrangement (for VIOLIN and CELLO duet with PIANO accompaniment) of the familiar Gospel song Brighten the Corner Where You Are by Charles H. Gabriel. This quick-paced arrangement will lift the spirits of the listeners as they are reminded of the lyrics penned by Ina D. Ogdon: Do not wait until some deed of greatness you may do, Do not wait to shed your light afar. . . Both the VIOLIN and the CELLO get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. This cheerful and uplifting instrumental arrangement is an ideal selection for a church setting and a valuable addition to your sacred worship repertoire. Duration 2:00. The range for each part is as follows: VIOLIN ~ E4 to G5; CELLO ~ C3 to C4 (middle C). All notes for both the VIOLIN and CELLO are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. The purchase price includes these printing options: 1. a grand staff (6 pages) with all parts on each page2. separate scores for the VIOLIN and CELLO (2 pages each) and PIANO (3 pages)3. a combined VIOLIN and CELLO score (2 pages) This hymn represents GOODNESS and is one of the 10 songs in the collection inspired by Galatians 5:22-23: The Fruit of the Spirit (10 Hymns for Violin and Cello Duet with Piano Accompaniment) Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99 ≈
5.60€
Brighten the Corner Where You Are (Violin Duet with Piano Accompaniment)
Brighten the Corner Where You Are (Violin Duet with Piano Accompaniment)
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Violin and Piano
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EASY
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Charles H
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Sharon Wilson
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Brighten the Corner Where You
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Sharon Wilson
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SheetMusicPlus
Small Ensemble Piano Accompaniment,Violin - Level 2 - Digital Download SKU: A0.1046275 By Charles H. Gabriel and Sharon Wilson. By Charles Hutchinson Gab...
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Small Ensemble Piano Accompaniment,Violin - Level 2 - Digital Download SKU: A0.1046275 By Charles H. Gabriel and Sharon Wilson. By Charles Hutchinson Gabriel and Ina Duley Ogdon. Arranged by Sharon Wilson. Children,Folk,Praise & Worship,Romantic Period,Sacred. Score and parts. 17 pages. Sharon Wilson #650781. Published by Sharon Wilson (A0.1046275). Here is a fun and upbeat instrumental trio arrangement (for two VIOLINS with PIANO accompaniment) of the familiar Gospel song Brighten the Corner Where You Are by Charles H. Gabriel. This quick-paced arrangement will lift the spirits of the listeners as they are reminded of the lyrics penned by Ina D. Ogdon: Do not wait until some deed of greatness you may do, Do not wait to shed your light afar… Both VIOLINS get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. This cheerful and uplifting instrumental arrangement is an ideal selection for a church setting and a valuable addition to your sacred worship repertoire. Duration 2:00. The range for each part is as follows: VIOLIN 1 – F#4 to A5; VIOLIN 2 – D4 to D5. All notes for both VIOLINS are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. The purchase price includes these printing options: 1. a grand staff (6 pages) with all parts on each page2. separate scores for each VIOLIN part (2 pages each) and PIANO (3 pages)3. a combined VIOLIN 1 and VIOLIN 2 score (2 pages) This hymn represents GOODNESS and is one of the 10 songs in the collection inspired by Galatians 5:22-23: The Fruit of the Spirit (10 Hymns for Violin Duet with Piano Accompaniment) Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99 ≈
5.60€
'Deed I Do
'Deed I Do
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Organ
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'Deed I Do
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Hal Leonard - Digital
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SheetMusicPlus
Electronic Keyboard,Organ,Piano and Keyboard - Digital Download SKU: HX.631983 This edition: scorch. E-Z Play Today. Jazz,Pop,Standards. Score. 2 pages. ...
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Electronic Keyboard,Organ,Piano and Keyboard - Digital Download SKU: HX.631983 This edition: scorch. E-Z Play Today. Jazz,Pop,Standards. Score. 2 pages. Hal Leonard - Digital #187750. Published by Hal Leonard - Digital (HX.631983). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99 ≈
2.80€
The Alcoholic Blues (Some Blues)
The Alcoholic Blues (Some Blues)
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Piano, Voice
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Albert Von Tilzer
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The Alcoholic Blues
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - Digital Download SKU: LV.23609 Composed by Albert Von Tilzer. Moonlight, Owls, Cats, Prohibition, Alcoholic beverages. Lester S. Levy C...
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Piano and voice - Digital Download SKU: LV.23609 Composed by Albert Von Tilzer. Moonlight, Owls, Cats, Prohibition, Alcoholic beverages. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV.23609). The Alcoholic Blues (Some Blues). Words by Edward Laska. Music by Albert Von Tilzer. Published 1919 by Broadway Music Corp., Will Von Tilzer, President, 145 West 45th St. in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Moonlight, Owls, Cats, Prohibition, Alcoholic beverages. First line reads I love my country, 'deed I do, but oh, that war has made me blue.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99 ≈
5.60€
You Are Not Dying, Madame from Too Many Sopranos (Downloadable)
You Are Not Dying, Madame from Too Many Sopranos (Downloadable)
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Edwin Penhorwood
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You Are Not Dying, Madame from
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Solo voices, piano - Medium - Digital Download SKU: MQ.8497-E Composed by Edwin Penhorwood. Instrument part. 15 pages. E. C. Schirmer Music Company - Dig...
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Solo voices, piano - Medium - Digital Download SKU: MQ.8497-E Composed by Edwin Penhorwood. Instrument part. 15 pages. E. C. Schirmer Music Company - Digital #8497-E. Published by E. C. Schirmer Music Company - Digital (MQ.8497-E). English.Libretto:Written by Miki LynnScene Synopsis:Four Divas arrive in heaven to learn there is not enough room for all of them in the Heavenly Chorus. St. Peter explains that because too many tenors and basses are in Hell, only one of the sopranos will be allowed into the chorus. The sopranos are appalled that they must audition, and proceed to express their dismay and outrage. Duration: 7:00Synopsis:Four Divas arrive in heaven to learn there is not enough room for all of them in the Heavenly Chorus. Because too many tenors and basses are in Hell, only one of the sopranos will be allowed into the chorus. The sopranos are appalled that they must audition, but submit. After their impressive auditions, St. Peter cannot make a decision. Gabriel therefore mentions the Redemption Clause: If the sopranos go to Hell and do a selfless deed, they can bring back to Heaven as many tenors and basses as needed. To protect them in Hell, St. Peter grants them a special disguise.The Divas, St. Peter, and Gabriel arrive in Hell and listen to the stories of some of the tortured souls there. Just Jeanette meets Nelson Deadly and they fall in love. The Sandman arrives with the stage director, Orson and presents a task to the couple: If they don't fall asleep listening to Orson, they can take back to Heaven as many tenors and basses as they want. They fail the test, but because of a selfless act on their part, they are granted the release of the men. There is general rejoicing and all promise St. Peter they will never sing opera again. Duration: ~ 1 Hour, 20 MinutesRoles:ST. PETERBass-BaritoneDAME DOLEFULMezzo-SopranoMADAME POMPOUSSopranoMISS TITMOUSEColoratura SopranoJUST JEANETTELyric Soprano The purchase of this scene includes permission to reproduce a maximum number of 7 copies: 1 for each of the vocalists, 1 for the accompanist, and 1 for the conductor. If this will be performed in a concert setting without dramatic elements, it is covered by your organization's ASCAP or BMI license. Please report the concert accordingly. If this will be performed in a staged setting with dramatic elements such as costumes, lighting, etc., please contact the ECS Publishing Copyright Department for a grand rights license. A dramatic production is not covered by ASCAP or BMI.
$50.00 ≈
46.78€
He is Risen (Easter Proclamation) [Lead Sheet G Major]
He is Risen (Easter Proclamation) [Lead Sheet G Major]
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C Instruments
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EASY
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Stacey Plays Hymns
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Anastace
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He is Risen
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Anastace
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SheetMusicPlus
C Instrument - Level 2 - Digital Download SKU: A0.1395614 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Easter,Praise and...
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C Instrument - Level 2 - Digital Download SKU: A0.1395614 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Easter,Praise and Worship,Religious,Sacred. Lead Sheet / Fake Book. 2 pages. Anastace #979054. Published by Anastace (A0.1395614). The perfect Easter morning song, He is Risen, was inspired by centuries of Christians on Easter morning, proclaiming to each other and to the entire world that HE IS RISEN! And we reply again, HE IS RISEN INDEED! As heard on my YouTube channel, this is the lead sheet version in the key of G major, to suit either very high or very low voices, with a 9-note range of G-A.This song is beautiful for an Easter church service, either sung by a soloist or as a way to open a church service on Resurrection Sunday! It's perfect for a single singer accompanied by keyboard or piano for a powerful, prophetic statement, or can be joined halfway by a praise band or a pipe organ, whatever matches the style of your church's music. For best results, a smooth, rich pad sound should be used, especially for the beginning. Also available, by searching Stacey Plays Hymns and the song title on this site, are the following versions:Full piano and vocal arrangement in D major [original key]Full piano and vocal arrangement in G major [for lower voices]Full piano and vocal arrangement in F major [for higher voices, a true soprano range]Lead Sheet in D Major to match the original keyPiano solo for a perfect matching prelude or postlude or communion interlude.For other formats including large print, or extended choral harmony versions, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one church service with under 300 people, with proper attribution and credit in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!
$3.00 ≈
2.81€
FANTASIA on the 7th Tune of Thomas Tallis
FANTASIA on the 7th Tune of Thomas Tallis
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Classical
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Thomas Tallis and Alan Edgar
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FANTASIA on the 7th Tune of Th
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Alan Edgar Ted Moon
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SheetMusicPlus
String Ensemble Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1279289 Composed by Thomas Tallis and Alan Edgar. Classical. 16 pages...
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String Ensemble Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1279289 Composed by Thomas Tallis and Alan Edgar. Classical. 16 pages. Alan Edgar Ted Moon #870783. Published by Alan Edgar Ted Moon (A0.1279289). String quartet or String Orchestra.  In this humble tribute to Ralph Vaughan Williams, I offer this Fantasia on another theme from Thomas Tallis's contribution in 1567 to Archbishop Parker's Psalter: his Seventh Tune for Psalm 52. My Fantasia tries to reflect David's feelings of disgust, anger and sadness, but also his calm confidence in God.Why do you boast of your evil deeds, you champion of malice? All day long you plot harm; your tongue is like a sharpened razor,you master of deceit. etc.Any similarities to RVW's piece are entirely deliberate. DURATION: 5-6 minutes.
$11.00 ≈
10.29€
'Contrapunctus 11' By J.S.Bach BWV 1080 from 'The Art of the Fugue' for Saxophone Quartet.
'Contrapunctus 11' By J.S.Bach BWV 1080 from 'The Art of the Fugue' for Saxophone Quartet.
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Saxophone Quartet: 4 saxophones
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ADVANCED
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Classical
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Johann Sebastian Bach
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Stephen Davies
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'Contrapunctus 11' By J.S.Bach
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Stephen Davies
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 5 - Digital Download SKU: A0.891850 Compos...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 5 - Digital Download SKU: A0.891850 Composed by Johann Sebastian Bach. Arranged by Stephen Davies. Baroque,Concert. 26 pages. Stephen Davies #3465638. Published by Stephen Davies (A0.891850). CONTRAPUNCTUS XI is taken from Bach's seminal work 'The Art Of The Fugue', and if you like fugues as I do, this one certainly does not disappoint! Its complex and almost defies analysis but ultimately satisfying to play. In the words of Schopenhauer The be-all and end-all of the fugue, three subjects, each of them inverted, all of them combined, the first subject even enters in hyper-stretto with its own inversion I'm sure he knew his stuff! Praise indeed!
$1.99 ≈
1.86€
Noir et Blanc
Noir et Blanc
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Orchestra
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INTERMEDIATE/ADVANCED
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Darian Stavans
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Noir et Blanc
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Music Studio
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.994719 Composed by Darian Stavans. 20th Century,Contemporary,Standards. Score and parts. 66 pages. Mu...
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Full Orchestra - Level 4 - Digital Download SKU: A0.994719 Composed by Darian Stavans. 20th Century,Contemporary,Standards. Score and parts. 66 pages. Music Studio #4321783. Published by Music Studio (A0.994719). Noir et Blanc.Noir et Blanc - Orchestral Score / Album Noir et Blanc by Darian Stavans.Noir et Blanc is a work that was totally conceived for orchestra. As we listen to the album we are intrigued, for the only element lacking is the contrast suggested by the title. Why? The answer is that contrasts do not exist. They are simply the furthermost points in a grayscale that when displayed like a fan shows these extremes and therefore their contrasts. The deeds and acts that flow inside our mask of power come and go in nostalgic melancholy through pain and glory trickling like the water in a brook, where tenderness meets madness. Sometimes everything seems the same even though each element acts differently. This album speaks about that intriguing grayscale and the powerful force that lets it plunge into the depths of human essence and the soul. In the face of facts, seemingly distinct and at the same time so alike, only courage will prove out their differences and make us dare call out the Noir et Blanc, the Black and White, but until that moment comes things will appear to flow in a grayscale. Orchestral work.64 pages.Duration: 39:00Website: www.darianstavans.comemail: darianstavans@gmail.comYouTube Channel: https://www.youtube.com/user/darianstavans/Facebook: https://www.facebook.com/Darian.Stavans1.
$29.99 ≈
28.06€
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To Do the Deed
