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Great I Am Percussion
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Vous avez sélectionné:
Great I Am Percussion
Partitions à imprimer
21 partitions trouvées
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1
Great I Am - Percussion
Great I Am - Percussion
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Percussion (partie séparée)
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Jared Anderson
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Cliff Duren
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Great I Am - Percussion
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.195554 Composed by Jared Anderson. Arranged by Cliff Duren. Concert,Contemporary,Sacred. Choral Instrumental Pak. 2 pages. Duration 220. Hal Leo...
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SKU: HX.195554 Composed by Jared Anderson. Arranged by Cliff Duren. Concert,Contemporary,Sacred. Choral Instrumental Pak. 2 pages. Duration 220. Hal Leonard - Digital #216208. Published by Hal Leonard - Digital (HX.195554).
$7.00 ≈
6.54€
Great I Am - Percussion
Great I Am - Percussion
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Percussion (partie séparée)
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Heather Sorenson
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Great I Am - Percussion
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.312008 Arranged by Heather Sorenson. This edition: scorch. Christian,Hymn,Sacred. Choral Instrumental Pak. 6 pages. Hal Leonard - Digital #21620...
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SKU: HX.312008 Arranged by Heather Sorenson. This edition: scorch. Christian,Hymn,Sacred. Choral Instrumental Pak. 6 pages. Hal Leonard - Digital #216208. Published by Hal Leonard - Digital (HX.312008).
$7.00 ≈
6.54€
Am I Wrong: Auxiliary Percussion
Am I Wrong: Auxiliary Percussion
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Percussion (partie séparée)
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Nico and Vinz
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Pop
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Am I Wrong: Auxiliary Percussi
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Marching Band - SKU: AX.00-PC-0016977_APC Auxiliary Percussion. By Nico and Vinz. By Abdoulie Jallow, Nicolay Sereba, Vincent Dery, and William L...
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Marching Band - SKU: AX.00-PC-0016977_APC Auxiliary Percussion. By Nico and Vinz. By Abdoulie Jallow, Nicolay Sereba, Vincent Dery, and William Larsen. Afrobeat Pop; Pop. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016977_APC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016977_APC). UPC: 038081495958.From veteran writer Brian Scott comes this solid arrangement of the hit from pop duo Nico and Vinz. The chart has a great Afrobeat groove and would be perfect for field or stands use. (2:10).
$3.00 ≈
2.80€
This Is Me (The Greatest Showman) SATB Choir
This Is Me (The Greatest Showman) SATB Choir
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Chorale SATB
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INTERMÉDIAIRE
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Comédie Musicale
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Keala Settle and The Greatest
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Michael Pilley
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This Is Me
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Michael Pilley Music
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SheetMusicPlus
Piano Accompaniment, Choir, SATB - Intermediate - Digital Download By Keala Settle and The Greatest Showman Ensemble. Arranged by Michael Pilley. Score. 14...
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Piano Accompaniment, Choir, SATB - Intermediate - Digital Download By Keala Settle and The Greatest Showman Ensemble. Arranged by Michael Pilley. Score. 14 pages. Published by Michael Pilley Music
From the smash hit movie musical The Greatest Showman comes a stirring song that encompasses the moral lesson of self-acceptance and triumph under adversity. Scored for SATB choir with soloist at an intermediate difficulty, this arrangement is a direct transcription off the original soundtrack and will be a sure fire hit in any program.
With music by the award winning Pasek and Paul, The Greatest Showman is a movie musical based on the life of P.T. Barnum. It is a story of overcoming adversity, rising above social classes and the establishment of an entertainment visionary. Brilliantly played by Keala Settle, the bearded lady gives us an emotional rendition of This Is Me, with lyrics such as ?I won?t let them break me down to dust? and ?I am who I?m meant to be?, speaking of the struggle to be accepted in society.
If you would like to accompany this with a rhythm section and 4 piece horn section, you can also buy those parts here: https://bit.ly/2HcXyVD
And if you want to add some extra percussion that mirrors the original orchestration, pick up the Brass Band version here: https://bit.ly/2zxu5ig
$4.50 ≈
4.20€
Ngiculela-es Una Historia I Am Singing
Ngiculela-es Una Historia I Am Singing
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Piano seul
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INTERMÉDIAIRE
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Stevie Wonder
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Popnroll 1976
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Performed by Stevie Wonder
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Ngiculela-es Una Historia I Am
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Popnroll 1976
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SheetMusicPlus
Piano - Level 3 - SKU: A0.1296741 By Stevie Wonder. By Stevie Wonder. Arranged by Popnroll 1976. 20th Century,Latin,Pop,R & B. Score (Chords/Lyrics). 3 ...
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Piano - Level 3 - SKU: A0.1296741 By Stevie Wonder. By Stevie Wonder. Arranged by Popnroll 1976. 20th Century,Latin,Pop,R & B. Score (Chords/Lyrics). 3 pages. Popnroll 1976 #886908. Published by Popnroll 1976 (A0.1296741). Ngiculela - Es Una Historia - I Am Singing - Stevie Wonder (Lead Sheet/Lyrics)This is a Lead Sheet (with chords and lyrics) for Ngiculela - Es Una, which begins with a refreshing sounding Western string style synthesizer arbeggio over a light Latin beat from the great R&B singer Stevie Wonder's 1976 double album Songs In The Key Of Life.Intro and ending keyboard lines are also included. Includes lyrics.PDF format, 3 pages.Composed & Performed by Stevie Wonder.This song, in which Stevie Wonder himself plays all the instruments (except for the backing percussion), begins with his 7/8 time signature drums solo, and is introduced by a harp-like synthesizer phrase that sounds like a three-finger (on the guitar). 　The song is divided into three parts, with the [A] part sung in Zulu (an African tribe living from South Africa to southern Zimbabwe), the [B] part in Spanish, and the [C] part in English (a love song from our hearts, The bass guitar is played on a synthesizer. 　The bass part is played by a synthesizer, and especially the 5th and 6th bars of the [C] part are interesting lines, so I added them in a small size at the bottom of this page.
$9.99 ≈
9.33€
I Am The Walrus
I Am The Walrus
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Rock
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Oasis
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Andrew Will
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I Am The Walrus
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Andrew Will
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SheetMusicPlus
Large Ensemble - Level 4 - SKU: A0.1121546 By Oasis. By John Lennon and Paul McCartney. Arranged by Andrew Will. 20th Century. Score and parts. 50 pages...
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Large Ensemble - Level 4 - SKU: A0.1121546 By Oasis. By John Lennon and Paul McCartney. Arranged by Andrew Will. 20th Century. Score and parts. 50 pages. Andrew Will #722727. Published by Andrew Will (A0.1121546). I am a Walrus by the Beatles is a full production arrangement for any large scale event. Instrumentation - Score, Lead Vocal, Choir SATB, French Horn, Violin 1-2, Viola, Cello, Double Bass, Keyboard 1, Keyboard 2, Bass Guitar, Drum Kit and Percussion. Would make a great addition to any professional production. To listen to this arrangement, go to https://www.youtube.com/watch?v=KJ_eBwRYrEA on youtube. Start from 21:00. Enjoy!
$45.00 ≈
42.04€
8 Swinging Xmas Carols for Mallet Percussion & Piano
8 Swinging Xmas Carols for Mallet Percussion & Piano
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Xylophone, Piano
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INTERMÉDIAIRE
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Noël
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Keith Terrett
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Keith Terrett
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8 Swinging Xmas Carols for Mal
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Keith Terrett
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SheetMusicPlus
Piano,Xylophone - Level 3 - SKU: A0.1315259 By Keith Terrett. By Various. Arranged by Keith Terrett. 19th Century,20th Century,Christian,Christmas,Prais...
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Piano,Xylophone - Level 3 - SKU: A0.1315259 By Keith Terrett. By Various. Arranged by Keith Terrett. 19th Century,20th Century,Christian,Christmas,Praise & Worship. 28 pages. Keith Terrett #904005. Published by Keith Terrett (A0.1315259). An exciting arrangement of eight popular swinging xmas carols arranged for Vibraphone, Marimba or Xylophone & Piano in an up-beat and somewhat jazzy manner. This challenging set of carols, offers players in general, something very different for those Christmas concerts and recitals, give them a go, and I am sure that you won’t be disappointed!The set includes: Ding Dong Merrily On High, Silent Night,We Three Kings,Away in a Manger, Joy to the World, God Rest Ye Merry Gentlemen, Deck the Halls & Good King Wenceslas.The part is all written out with jazz inflections and articulation included. The Piano part is all written out, but also includes the jazz chords for players who wish to comp. These Carols are playable by moderately advanced performers and are perfect for parties, church services, busking & recitals. Range is very moderate, nothing high at all.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible!Reviewer Chet Heflin Date 29th Sep 2006Bluesy Xmas! Keith Terrett has done an outstanding job of injecting jazz and blues into these holiday favorites. The writing beginning in measure 13 of Ding Dong Merrily On High is outstanding. Check out the wonderful contrast in movement between the flute and bass. This arrangement of Xmas carols would be a wonderful addition to any future holiday program. Well done Keith! Have fun! Caroling (singing carols in the street) is one of the oldest customs in Great Britain, going back to the Middle Ages when beggars, seeking food, money, or drink, would wander the streets singing holiday songs.
$15.99 ≈
14.94€
I Am Light
I Am Light
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Piano, Voix et Guitare
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Pop musique
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India
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I Am Light
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Hal Leonard - Digital
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SheetMusicPlus
By India.Arie. This edition: Interactive Download. Pop. Piano/Vocal/Guitar. 6 pages. Published by Hal Leonard - Digital...
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By India.Arie. This edition: Interactive Download. Pop. Piano/Vocal/Guitar. 6 pages. Published by Hal Leonard - Digital
This song of self-affirmation from India.Arie is a great choice for any choir looking for a strong tune with an R&B groove. Part writing is designed to be very approachable and easy to sing, with much of it in 2 and 3 parts. Would be suitable for a developing concert choir, or any level of show choir. Add a drumset, some percussion, or the optional instrumental combo parts to really bring this song to life!
Duration: approx. 2'20"
$4.99 ≈
4.66€
Come, Proclaim the Victory
Come, Proclaim the Victory
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Musique Sacrée
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J
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Choral Octavo
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Come, Proclaim the Victory
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Jubilate Music Group - Digital
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SheetMusicPlus
Choir Sacred Instrumental Ensemble - SKU: JX.00-18357 Composed by J. Paul Williams and Joseph M. Martin. This edition: InstruPax. Choral (Sacred); Chora...
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Choir Sacred Instrumental Ensemble - SKU: JX.00-18357 Composed by J. Paul Williams and Joseph M. Martin. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Ascension; Christ the King; Easter; Fall; Sacred; Spring. Part(s). 29 pages. Jubilate Music Group - Digital #00-18357. Published by Jubilate Music Group - Digital (JX.00-18357). English. Psalm 47; John 20:1-18; 1 Corinthians 15: 19-26, 51-5; 1 Timothy 6:11-21.A regal hymn concertato incorporating Crown Him with Many Crowns. Joseph Martin's thrilling original opening journeys through sequencing modulations, Come proclaim the Living Lamb, Great I Am!, culminating in a spinetingling finish with congregational singing. The breathtaking orchestration is highly effective for Easter morning (opt.) brass and percussion parts, CD track available separately). Smaller choirs may prefer the solo trumpet part included in the score. Also appropriate for Ascension. InstruPax includes: director's score, 2 trumpets, 2 trombones, timpani, percussion.
$20.00 ≈
18.68€
Come, Proclaim the Victory
Come, Proclaim the Victory
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Chorale SATB
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Musique Sacrée
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J
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Choral Octavo
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Come, Proclaim the Victory
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Jubilate Music Group - Digital
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SheetMusicPlus
Choir Sacred (SATB choir) - Grade 4 - SKU: JX.00-18354 Composed by J. Paul Williams and Joseph M. Martin. Choral (Sacred); Choral Octavo; Performance Mu...
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Choir Sacred (SATB choir) - Grade 4 - SKU: JX.00-18354 Composed by J. Paul Williams and Joseph M. Martin. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Archive Edition: Alfred SingPraise Series. Ascension; Christ the King; Easter; Fall; Sacred; Spring. Choral Octavo. 12 pages. Jubilate Music Group - Digital #00-18354. Published by Jubilate Music Group - Digital (JX.00-18354). English. 1 Timothy 6:11-21; 1 Corinthians 15: 19-26, 51-5; John 20:1-18; Psalm 47.A regal hymn concertato incorporating Crown Him with Many Crowns. Joseph Martin's thrilling original opening journeys through sequencing modulations, Come proclaim the Living Lamb, Great I Am!, culminating in a spinetingling finish with congregational singing. The breathtaking orchestration is highly effective for Easter morning (opt.) brass and percussion parts, CD track available separately). Smaller choirs may prefer the solo trumpet part included in the score. Also appropriate for Ascension.
$2.25 ≈
2.10€
Nothing Compares (Anthem) - Orchestration
Nothing Compares (Anthem) - Orchestration
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Musique Sacrée
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Gospel Spirituel
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Christopher R
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Nothing Compares
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Christopher Brown
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SheetMusicPlus
Large Ensemble Choir - Level 3 - SKU: A0.747194 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 92 pages. C...
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Large Ensemble Choir - Level 3 - SKU: A0.747194 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 92 pages. Christopher Brown #4601913. Published by Christopher Brown (A0.747194). About the song: This anthem begins by compelling the listener and the performer to consider the parable of the hidden treasure and the pearl. The second verse reflects on David's superlative description of God's Word in Ps. 19. In his letter to the Philippians, Paul speaks of the surpassing worth of knowing Christ when compared to everything else in this life. The lyrics of this song are intended to echo these Truths, encourage the believer, and testify to the incomparable gift of entering into the Kingdom of God, understanding His Word, and being strengthened and set free to do the good works that He prepared in advance for us to do.Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.Please Note:You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.Included in your Purchase:Full ScoreChoral Score (SATB with Solo)Piano AccompanimentRhythm ChartDrumsetFlute 1, 2Oboe (opt. Soprano Sax doubles)Clarinet 1, 2Horn 1, 2 (opt. Alto Sax doubles)Trumpet 1, 2Trumpet 3Trombone 1, 2 (opt. Tenor Sax doubles)Trombone 3/ Tuba (opt. Bari Sax doubles)Percussion 1, 2HarpViolin 1, 2ViolaCelloString Bass (opt. Bass Clarinet/ Bassoon doubles)Lyrics:Verse 1Like a treasure in a field,Is the matchless worth of Christ.For the kingdom of heaven, I give my life.Like a pearl of great value,Perfect and pure.I leave it all behind ‘cause of this I’m sure.Chorus 1He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my cross,And I count it all as loss.Nothing compares to what I have in the Lord.Verse 2More precious than gold,Is the Word of the Lord.Greater and higher than anything this world affords,It is sweeter than honey,Straight from the comb.My delight is in Jesus, I no longer walk alone.Chorus 2He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my crossAnd I count it all as lossNothing compares to what I have in the Lord.Bridge (x2)In the Lord I find strength for every day, In the Lord every fear is washed away.In the Lord hope and peace are here to stay,Whatever comes my way, I will lift my voice and say.Key ChangeChorus 3He called out my name,And broke ev’ry chain,Love so amazing, so divine!He rescued my soul,And made my heart whole,Now I am His and He is mine!I’m taking up my cross,And I count it all as loss.Nothing compares to what I have in the Lord.Nothing compares to what I have in the Lord.Nothing compares to what i have in the Lord.
$49.99 ≈
46.70€
This Is Me
This Is Me
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Contemporain
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Benj Pasek and Justin Paul
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Michael Pilley
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This Is Me
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Michael Pilley Music
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.746169 Composed by Benj Pasek and Justin Paul. Arranged by Michael Pilley. Contemporary. Brass Band. 57 pages. Michael Pilley Music #3540989. Published by Michael Pilley Music (A0.746169). From the smash hit movie musical The Greatest Showman comes a stirring song that encompasses the moral lesson of self-acceptance and triumph under adversity. Scored for standard brass band at an advanced-intermediate difficulty, this arrangement utilises extended percussion techniques to mirror the amazing orchestration in the original soundtrack and will be a sure fire hit in any program.Featuring two solos by the flugelhorn, a cornet and trombone duet, extended percussion such as field drum and techniques for capturing the woosh sound in the original recording, this arrangement is a direct transcription of the track on the original soundtrack.You can hear the entire piece here: https://youtu.be/7pYOaatfUsY and for a simplified 10 piece Brass Ensemble arrangement, click here: https://goo.gl/oKr6fbWith music by the award winning Pasek and Paul, The Greatest Showman is a movie musical based on the life of P.T. Barnum. It is a story of overcoming adversity, rising above social classes and the establishment of an entertainment visionary. Brilliantly played by Keala Settle, the bearded lady gives us an emotional rendition of This Is Me, with lyrics such as I won’t let them break me down to dust and I am who I’m meant to be, speaking of the struggle to be accepted in society.More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic
$50.00 ≈
46.71€
This Is Me
This Is Me
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Benj Pasek and Justin Paul
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Michael Pilley
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This Is Me
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Michael Pilley Music
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.746174 Composed by Benj Pasek and Justin Paul. Arranged by Michael Pilley. Broadway,Film/TV,Musical/Show,Pop. Brass Band. 77 pages. Michael Pilley Music #3867599. Published by Michael Pilley Music (A0.746174). From the smash hit movie musical The Greatest Showman comes a stirring song that encompasses the moral lesson of self-acceptance and triumph under adversity. Scored for choir, brass band and rhythm at an advanced-intermediate difficulty, this arrangement utilises extended percussion techniques to mirror the amazing orchestration in the original soundtrack and will be a sure fire hit in any program.Featuring extended percussion such as field drum and techniques for capturing the woosh sound in the original recording, this arrangement is a direct transcription of the track on the original soundtrack.With music by the award winning Pasek and Paul, The Greatest Showman is a movie musical based on the life of P.T. Barnum. It is a story of overcoming adversity, rising above social classes and the establishment of an entertainment visionary. Brilliantly played by Keala Settle, the bearded lady gives us an emotional rendition of This Is Me, with lyrics such as I won’t let them break me down to dust and I am who I’m meant to be, speaking of the struggle to be accepted in society.More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic
$80.00 ≈
74.73€
Three Laments of Heloise for Chamber Orchestra
Three Laments of Heloise for Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Dosia McKay
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Three Laments of Heloise for C
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Gavia Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #572...
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Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00 ≈
93.41€
Three Latin Dances - Score Only
Three Latin Dances - Score Only
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Orchestre d'harmonie
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AVANCÉ
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Latin/Musique du monde
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Jeff Tyzik
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Jeff Tyzik
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Three Latin Dances - Score Onl
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Jeff Tyzik/Macaroni Music
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1082229 Composed by Jeff Tyzik. Arranged by Jeff Tyzik. Latin. Score and parts. 31 pages. Jeff Tyzik/Macaroni Music #68...
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Concert Band - Level 5 - SKU: A0.1082229 Composed by Jeff Tyzik. Arranged by Jeff Tyzik. Latin. Score and parts. 31 pages. Jeff Tyzik/Macaroni Music #686377. Published by Jeff Tyzik/Macaroni Music (A0.1082229). Three Latin Dances was composed for the Eastman Wind Ensemble at the request of Mark Scatterday in September of 2018. In the past twenty years, Mark has been very instrumental in encouraging me to compose wind music. I am grateful for the many wind ensemble projects and recordings we have collaborated on including IMAGES, our CD that was released in October 2018. I've always been attracted to the music of great Latin composers including de Falla, Gimenez, Chapi, Piazzolla, Ginastera, Lacuona and many others. In this short suite, I used three different popular Latin dance forms. The first dance section is based on the Danzón, a Cuban dance that is slow, formal and elegant. The Danzón transitions into a Cha Cha, another Cuban dance that is a medium tempo rhythmic dance that I first experienced during my student days at Eastman when I played in local Latin bands. After a brief recap of the Danzón another transition evolves into a Malambo, an Argentine dance that is exciting, up tempo and whose roots can be traced back to the 1600s. As one might imagine, the percussion section is very busy and featured throughout from the elegant and lyrical introduction to the exciting finish. As an alumni of the EWE under Donald Hunsberger, it is an honor to have this preeminent Eastman ensemble premiere this new suite with Mark Scatterday conducting at Severance Hall in Cleveland on May 7, 2019.
$50.00 ≈
46.71€
Bixby Walks Alone
Bixby Walks Alone
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Martin J Van Klompenberg
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Bixby Walks Alone
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Martin J. Van Klompenberg
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SheetMusicPlus
Percussion Ensemble Marimba - Level 4 - SKU: A0.1123395 Composed by Martin J Van Klompenberg. Classical,Contest,Festival. Score and parts. 51 pages. Mar...
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Percussion Ensemble Marimba - Level 4 - SKU: A0.1123395 Composed by Martin J Van Klompenberg. Classical,Contest,Festival. Score and parts. 51 pages. Martin J. Van Klompenberg #724203. Published by Martin J. Van Klompenberg (A0.1123395). …You watch as a man walks alone, along a deserted rural highway. He is aware that danger is out there, but for this moment, the peril is far enough away to let his guard down….maybe…. The pages of the comic book super “hero,†The Incredible Hulk, have always been among my favorites. I am personally one of the great defenders of the character’s films. And, as a child, I loved re-runs of the The Incredible Hulk television show. Bixby Walks Alone is the musical intersection of this love. Inspired by the tragic, lonely ending of each episode of the television series, as well as the intense, expositive opening credits sequence of the 2008 film, I sat down and created the minimalist engine that drives this piece. Originally conceived for bassoon quartet, the opportunity to write a work for the Heartland Marimba Quartet allowed me to flesh out this feeling of tension even further.
$50.00 ≈
46.71€
The Dale Coates March
The Dale Coates March
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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James K
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The Dale Coates March
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James K. Taylor
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1083548 Composed by James K. Taylor. Contest,Festival,Instructional,Multicultural,Patriotic,Standards,World. Score and ...
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Concert Band - Level 4 - SKU: A0.1083548 Composed by James K. Taylor. Contest,Festival,Instructional,Multicultural,Patriotic,Standards,World. Score and parts. 75 pages. James K. Taylor #687750. Published by James K. Taylor (A0.1083548). This is an original, traditional march in a series of marches I am composing in honor of Band Directors in whose band I have played. This march would be rated a three plus or a or four in difficulty level. It is full of fun musical experiences. On the last time through the trio, really echo the 5-1 melodic interval when stated in the melody. The percussion is played on the recording, but not heard very well. The score is full, all parts are and PDF score have been loaded and the measures are numbered. This would make a great contest march. Enjoy.
$40.00 ≈
37.37€
Black Coffee
Black Coffee
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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FACILE
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Blues
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Bobby Darin
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Peet du Toit
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Black Coffee
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Peet du Toit
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1373864 By Bobby Darin. By Paul Francis Webster and Sonny Burke. Arranged by Peet du Toit. ...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1373864 By Bobby Darin. By Paul Francis Webster and Sonny Burke. Arranged by Peet du Toit. Blues. 17 pages. Peet du Toit #958338. Published by Peet du Toit (A0.1373864). Black Coffee is a song with music by Sonny Burke and words by Paul Francis Webster. The song was published in 1948.It's first two measures are nearly identical to Mary Lou Williams' 1938 piece What's Your Story Morning Glory, and both songs share melodic motifs drawn from blues (including a strong melodic emphasis on the flat third and flat seventh intervals, known as blue notes). Williams felt that Burke and Webster plagiarized her composition, and reportedly considered taking legal action over the matter. The two songs have significant melodic and rhythmic differences after the first two measures of their respective 'A' sections, and Black Coffee has a unique bridge section that has no parallel in Morning Glory. However, during her piano solo, Williams plays both the identical feel and harmonies that appear on Black Coffee, with dominant chords moving up and down by half steps in lieu of staying on the tonic chord. While not a carbon copy, Burke and Webster arguably picked sections of What's Your Story Morning Glory to string together to create a new song. Coincidentally, jazz trumpeter Paul Webster (no relation to lyricist Paul Francis Webster) was given co-writer credit for Morning Glory by Williams when she published her song in 1938.My dear friend, Sam Harrill, has added his percussion magic some years later, and I am re-posting this for greater effect. Nothing in the brass parts changed. Thank you, Sam!
$17.00 ≈
15.88€
Toccata-Rhapsody
Toccata-Rhapsody
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Ho Jie Rong
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Toccata-Rhapsody
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Ho Jie Rong
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1011296 Composed by Ho Jie Rong. Contemporary,Standards. Score. 16 pages. Ho Jie Rong #5794121. Published by Ho Jie Rong ...
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Piano Solo - Level 4 - SKU: A0.1011296 Composed by Ho Jie Rong. Contemporary,Standards. Score. 16 pages. Ho Jie Rong #5794121. Published by Ho Jie Rong (A0.1011296). I am a Singaporean pianist and composer. I have studied the piano since 5 years old under Mr Joseph Toh and I graduated from LASALLE College of the Arts with a Diploma in Music in 2013, majoring in Music Composition under Malaysian composer Mr Chong Kee Yong and Singaporean composer Mrs Joyce Koh Bee Tuan. About Toccata-RhapsodyThe Toccataâ€Rhapsody was composed from May to July 2013. Heavily inspired by the percussive piano music of Sergei Prokofiev (i.e. Toccata, Op. 11 and Sacarsms, Op. 17), this piece serves as a homage to this great composer. It is dedicated to one of my friends, James Oh Ju Young.
$8.00 ≈
7.47€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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Great I Am Percussion
