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43 partitions trouvées
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26
Fanfare for Uncommon Brass for Brass Band
Fanfare for Uncommon Brass for Brass Band
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Contemporain
#
Kevin Ure
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Kevin Ure, this piece features
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Fanfare for Uncommon Brass for
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UreMusic
#
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 5 - SKU: A0.1236328 By Kevin Ure. By Kevin Ure. 21st Century. Brass Band. 25 pages. UreMusic #831842. Published by UreMusic (A0.1236328). Fanfare for Uncommon Brass is a lively and festive piece for brass band that celebrates the diversity and beauty of brass instruments. Composed by Kevin Ure, this piece features a variety of brass sounds and rhythms that create a joyful and energetic atmosphere. The piece is suitable for intermediate to advanced brass bands and can be used for concerts, festivals, or ceremonies. Fanfare for Uncommon Brass is a great way to showcase the brilliance and versatility of brass music.This piece can be performed royalty-free for educational or non-profit performances, we ask that you contact kevin (at) uremusic.com for permission. Some commercial projects may require a licensing or performance fee.
$74.99 ≈
£57.24
Brass Magnolia Suite
Brass Magnolia Suite
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Contemporain
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Gary Powell Nash
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Brass Magnolia Suite
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Gary Powell Nash
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SheetMusicPlus
Small Ensemble Drum Set,Horn,Trombone,Trumpet,Vibraphone - Level 5 - SKU: A0.881262 Composed by Gary Powell Nash. Contemporary. Score and parts. 133 pag...
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Small Ensemble Drum Set,Horn,Trombone,Trumpet,Vibraphone - Level 5 - SKU: A0.881262 Composed by Gary Powell Nash. Contemporary. Score and parts. 133 pages. Gary Powell Nash #6137361. Published by Gary Powell Nash (A0.881262). Brass Magnolia Suite (1999) for trumpet, horn, bass trombone and percussion was largely inspired by Gary Powell Nash’s residency in Mississippi, the Magnolia State from 1996-2003. Being that Mississippi, particularly the northwest part of the state known to most as the Mississippi Delta, is very rich in musical traditions, Nash chose to use some of these same traditions as the basis and major premise for his composition. For the most part, Brass Magnolia Suite is based on Mississippi Delta blues tunes and bird songs of those indigenous to the region. Such birds include the mockingbird, wood thrush, common crackle and the meadowlark. For Nash’s utilizations of these bird songs, as well as blues tunes, he took rhythms and melodic contours of each and manufactured melodies and motives of his own. While Brass Magnolia Suite is not meant to be programmatic, the five movements, which are arranged in a traditional fast-slow-fast-slow-fast format, all depict either a particular experience for Nash or a natural occurrence in Mississippi. The first movement, Fanfare, is based on the mockingbird’s song. The second movement, Homage to the Armadillos, incorporates the song of the wood thrush. The third movement, Catfishery, is supported by the tune Catfish Blues and the common grackle’s song. The fourth movement, Song of the Meadowlark, is exactly what it suggests and the fifth movement, The Gospel, is based on the gospel blues tune John, the Revelator.
$25.00 ≈
£19.08
Mary Had A Little Lamb
Mary Had A Little Lamb
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Traditional
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James Baker
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Mary Had A Little Lamb
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Wicked Keys
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SheetMusicPlus
Instrumental Solo - Level 5 - Interactive Download SKU: A0.1491472 Composed by Traditional. Arranged by James Baker. This edition: Interactive Download. ...
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Instrumental Solo - Level 5 - Interactive Download SKU: A0.1491472 Composed by Traditional. Arranged by James Baker. This edition: Interactive Download. Folk,Jazz. Individual part. 3 pages. Duration 241. Wicked Keys #4vGrN8NVSxPWUkjm4cbwRO. Published by Wicked Keys (A0.1491472). Key: C major.Kay, we had some FUN with this one! Forget what you know about Mary Had A Little Lamb, listen to this track, and let the gospel goodness take you in. Jam packed with some common jazz chord voicings, and a few gospel passing chords, together with an original intro and interlude featuring a 4 minor chord (at Wicked Keys we LOVE a 4 minor chord). Impress your friends and wow the crowd with this beautiful take on a kids classic.
$5.99 ≈
£4.57
Sarigim
Sarigim
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Lior Navok
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Sarigim
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Lior Navok Music
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SheetMusicPlus
Instrumental Duet - Level 5 - SKU: A0.1487980 Composed by Lior Navok. 20th Century,21st Century,Chamber,Classical. 8 pages. Lior Navok Music #1064886. P...
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Instrumental Duet - Level 5 - SKU: A0.1487980 Composed by Lior Navok. 20th Century,21st Century,Chamber,Classical. 8 pages. Lior Navok Music #1064886. Published by Lior Navok Music (A0.1487980). Duration: 6 Minutes Program Notes:The word Sarigim derives from Hebrew. Sarig (pl. Sarigim and Srigim) has various meanings when spelled and accented differently. Some of the common ones include:1. A knitted fabric.2. Shoots, mainly vine shoots.3. Fret, the little bar below the guitar’s strings. The music, like vine shoots, interweaves its way horizontally and vertically between the two guitars, making both of them one inseparable resonating body.Sarigim is dedicated to the Nova Duo.
$15.50 ≈
£11.83
Ai Dao Wu Lu Ke Tui
Ai Dao Wu Lu Ke Tui
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Julia Peng
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Tommy Setiawan
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Ai Dao Wu Lu Ke Tui
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Tommy Setiawan
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SheetMusicPlus
Medium-High Voice,Vocal Solo - Level 5 - SKU: A0.1474405 By Julia Peng. By Chang De Xu and Zhong Ping Ji. Arranged by Tommy Setiawan. Contemporary,Jazz,...
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Medium-High Voice,Vocal Solo - Level 5 - SKU: A0.1474405 By Julia Peng. By Chang De Xu and Zhong Ping Ji. Arranged by Tommy Setiawan. Contemporary,Jazz,Pop,Singer/Songwriter,Wedding. 6 pages. Tommy Setiawan #1052030. Published by Tommy Setiawan (A0.1474405). Ai Dao Wu Lu Ke Tui is one of the hit/signature Mandarin/Chinese songs from singer Julia Peng.It is included in her 1997 album The Essential/Jue Dui Shou Zang.Julia Peng herself is a famous Taiwanese singer since the 90s.She won the Best Mandarin Female Singer Award at the 27th Golden Melody Awards in 2016.The song arrangement of Ai Dao Wu Lu Ke Tui this time is different from the original version/what is mostly often streamed in the Popular Music Channel such as You Tube,etc.In general,it is started with an Intro,Verse I-II,Chorus I,has 1 Bridge,Verse III (Last Verse),Chorus II,Chorus III (intiated with 1 transposition,from 4# to 6#),Chorus IV (2nd transposition,from 6# to 6b),Chorus V (Overtone/raised 1 octave above) and Ending (still in a High Voice).So from the Chorus V to the end of the song is the part that has the most distinguished feature that differentiate this type of arrangement from what's common we listen daily.
$6.20 ≈
£4.73
Burden of Lives
Burden of Lives
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Rock
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Suraj Synthesist
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Burden of Lives
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Suraj Synthesist
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SheetMusicPlus
Bass Guitar,Drum Set,Organ,Piano,Vocal,Voice - Level 5 - Interactive Download SKU: A0.1458896 By Suraj Synthesist. By Suraj Dinakar Shetty (Suraj Synthes...
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Bass Guitar,Drum Set,Organ,Piano,Vocal,Voice - Level 5 - Interactive Download SKU: A0.1458896 By Suraj Synthesist. By Suraj Dinakar Shetty (Suraj Synthesist). This edition: Interactive Download. Rock. Score. Duration 334. Suraj Synthesist #5xwTlbUd7oLzhvtL1pfa2m. Published by Suraj Synthesist (A0.1458896). Key: B major.A fictional piece set in medieval feudal times, this revenge song features vocal lead and choral harmony, along with parts for harpsichord, organ, lead and rhythm guitars, bass guitar, and drums. The composition draws inspiration from Phrygian Dominant, Phrygian or Hanumatodi, Vakulabharanam, and Hindustani Raagas of Bhairavi. Expect technical prog metal/rock elements, including double bass drumming in 10/8 with a strong polyrhythm, groovy common time, and sweep arpeggios and chords (diminished, augmented, flat 9, major 7-sharp 11).
$16.69 ≈
£12.74
So hat Gott die Welt geliebt
So hat Gott die Welt geliebt
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Classique
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Johann Sebastian Bach
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Tim Winkelhöfer
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So hat Gott die Welt geliebt
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Tim Winkelhöfer
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SheetMusicPlus
Piano,Voice Duet Bass Voice,Piano,Soprano voice - Level 5 - SKU: A0.1453805 Composed by Johann Sebastian Bach. Arranged by Tim Winkelhöfer. Baroque,Chr...
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Piano,Voice Duet Bass Voice,Piano,Soprano voice - Level 5 - SKU: A0.1453805 Composed by Johann Sebastian Bach. Arranged by Tim Winkelhöfer. Baroque,Christian,Classical. 8 pages. Tim Winkelhöfer #1033054. Published by Tim Winkelhöfer (A0.1453805). This is an arrangement of the Duetto So hat Gott die Welt geliebt from the Cantata BWV 173 by Johann Sebastian Bach for Soprano, Bass/Baritone and Piano. The common vocal scores are pretty unplayable and useless for public performances - with my arrangement there is a nice possibility to actually perform this piece without an orchestra. It can be used in every kind of church service or just in concert.
$9.99 ≈
£7.63
Overture No. 1 In E Minor
Overture No. 1 In E Minor
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Classique
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GMG
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Overture No. 1 In E Minor
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GMG
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SheetMusicPlus
Cello,Clarinet,Double Bass,Drum Set,Percussion,Trumpet,Viola,Violin,Xylophone - Level 5 - Interactive Download SKU: A0.1392236 Composed by GMG. This edit...
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Cello,Clarinet,Double Bass,Drum Set,Percussion,Trumpet,Viola,Violin,Xylophone - Level 5 - Interactive Download SKU: A0.1392236 Composed by GMG. This edition: Interactive Download. Classical. 37 pages. Duration 293. GMG #5COj5VxUABzRz69mdWa3CI. Published by GMG (A0.1392236). Key: E minor.Conductor Notes. Solo for all woodwind EXCEPT for Bassoon and Contrabassoon from measures 21-26. Solo for Bassoon, Contrabassoon, Bass Trombone, Euphonium and Tuba from measures 50-55. Alternate between half of each group for triplets in the common time half of the piece. Holds CAN be shortened to the conductors liking.
$12.99 ≈
£9.91
Overture No. 1 In E Minor
Overture No. 1 In E Minor
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Classique
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GMG
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Overture No. 1 In E Minor
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GMG
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SheetMusicPlus
Cello,Clarinet,Double Bass,Drum Set,Percussion,Trumpet,Viola,Violin,Xylophone - Level 5 - Interactive Download SKU: A0.1392235 Composed by GMG. This edit...
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Cello,Clarinet,Double Bass,Drum Set,Percussion,Trumpet,Viola,Violin,Xylophone - Level 5 - Interactive Download SKU: A0.1392235 Composed by GMG. This edition: Interactive Download. Classical. 37 pages. Duration 297. GMG #1tdBRNHH8x2iqYwjJ3LvpJ. Published by GMG (A0.1392235). Key: E minor.Conductor Notes. Solo for all woodwind EXCEPT for Bassoon and Contrabassoon from measures 21-26. Solo for Bassoon, Contrabassoon, Bass Trombone, Euphonium and Tuba from measures 50-55. Alternate between half of each group for triplets in the common time half of the piece. Holds CAN be shortened to the conductors liking.
$12.99 ≈
£9.91
Anything You Can Do . . . for violin and vibraphone
Anything You Can Do . . . for violin and vibraphone
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Robert M
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Anything You Can Do . . . for
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Robert M. Greenberg
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and p...
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Instrumental Duet Instrumental Duet,Vibraphone,Violin - Level 5 - SKU: A0.987848 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 54 pages. Robert M. Greenberg #90285. Published by Robert M. Greenberg (A0.987848). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 12 minutes Year of composition: 2006 Program Note: The mind searches for the oddest of couples. Felix Unger and Oscar Madison. Julia Roberts and Lyle Lovett. The violin and the vibraphone. Aside from the letter V, the two instruments have almost nothing in common. We consider: the violin is the most aristocratic instrument in the Western musical tradition, the prima donna of the instrumental world, an instrument that has had, lavished upon it, more extraordinary music than any other since its invention roughly 475 years ago. And then there’s the vibraphone, a percussion instrument with pitched metal bars and motor-driven resonators that produce a vibrato. Invented around 1925, it’s an instrument created for dance bands and popular music. Anything You Can Do . . . is a confrontation between these two musical opposites. A sense of contest characterizes the entire piece, as the vibraphone seeks to establish its bona fides side by side with the violin, which in turn attempts to keep the vibraphone in its place by beating it at its own game. The first movement is conceived as a race, in which each instrument acts like the other – the violin explosively and percussively, and the vibraphone with lengthy bowed passages – while seeking to shake off the other. The movement concludes with the violin paying a series of huge, chords and a long, sustained triple-stop that, much to its fury, the vibraphone manages to match with a sustained double-stop of its own. The movement ends in a draw. The second movement begins with the violin doing its best to match the vibrato patterns of the vibraphone’s variable motor. Ultimately, the violin breaks free and plays a broad, arioso-styled melody. The vibraphone tries to match it, but cannot; try as it might, its fixed range cannot reach the stratospheric heights of the violin. Advantage violin. The third movement is constructed in three sections. In the outer sections, rapidly rising and falling lines and counter rhythms pervade as each instrument seeks to gain an advantage over the other. In the middle section, alternating, hocket-like phrases give way to bent notes and glissandi in the vibraphone, which infuriates the violin (how dare this upstart percussion instrument do something ordinarily associated with me?). The movement concludes with the violin once again attempting to lord its greater range over the vibraphone by playing a long sustained F# - the same pitch that conquered the vibraphone at the end of the second movement – only to have the vibraphone top it by playing a harmonic a full seven notes above the F#. Game, set, match: vibraphone. Some respect, please, for the new kid on the block. Anything You Can Do . . . is dedicated, with a thousand-and-one thanks, to Victor Romasevich and Jack van Geem.
$28.00 ≈
£21.37
Quartet in F for Tuba-Euphonium Quartet
Quartet in F for Tuba-Euphonium Quartet
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Contemporain
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Matthew Nunes
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Quartet in F for Tuba-Euphoniu
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Matthew Nunes Music
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SheetMusicPlus
Euphonium,Tuba - Level 5 - SKU: A0.489189 Composed by Matthew Nunes. Classical,Contemporary. 82 pages. Matthew Nunes Music #105702. Published by Matthew...
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Euphonium,Tuba - Level 5 - SKU: A0.489189 Composed by Matthew Nunes. Classical,Contemporary. 82 pages. Matthew Nunes Music #105702. Published by Matthew Nunes Music (A0.489189). Listen to this piece hereQuartet No. 1 in F combines two things close to my heart: literature and tuba/euphonium writing. Each movement is a reflection on major novels and includes common musical threads. These works are The Faerie Queene (1590, 1596) by Edmund Spenser, Money (1984) by Martin Amis, One Hundred Years of Solitude (1967) by Gabriel Garcia Marquez, and Neuromancer (1984) by William Gibson. - Matthew Nunes Niceville, October 2018.
$25.99 ≈
£19.84
Five Short Variations on Shenandoah, Revised
Five Short Variations on Shenandoah, Revised
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American Folk Song
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Tuaimanu Byron Petaia
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Five Short Variations on Shena
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Tuaimanu Byron Petaia
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SheetMusicPlus
Instrumental Solo - Level 5 - SKU: A0.493772 Composed by American Folk Song. Arranged by Tuaimanu Byron Petaia. Classical,Contemporary,Folk. Individual ...
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Instrumental Solo - Level 5 - SKU: A0.493772 Composed by American Folk Song. Arranged by Tuaimanu Byron Petaia. Classical,Contemporary,Folk. Individual part. 23 pages. Tuaimanu Byron Petaia #108580. Published by Tuaimanu Byron Petaia (A0.493772). As a disclaimer: This piece is best suited to pianists with larger hands. It is common to find the left hand playing a tenth with the perfect fifth above the bass in between (i.e. C-G-E). In general, the fast movements are very technically demanding, and while lyricism dominates the first two movements, the large chords definitely add a couple layers of difficulty! I still hope you enjoy them!I wrote my set of variations as a way to explore a variety of ways by which I could accompany the folk tune, Shenandoah. With the first two variations, I chose to stick to the decidedly lyrical disposition of the original tune, while the last three variations are recast in a more boisterous and upbeat light. In all variations, I did my best to write in a way that evoked the feeling of Americana (I tried not to limit myself to stereotypical depictions of Shenandoah, and yet I wanted to ensure I maintained a respect for the source material). Thus, one variation, I attempted to transplant the melody into the vast openness of the unexplored West (variation three). In another, I tried to utilize harmonies that were reminiscent of Jazz (variation two). The final variation's intended affect is one of general optimism that characterizes America's trajectory from infancy to today.
$6.99 ≈
£5.34
Beethoven: Symphony No.7 Op.92 Mvt.III Presto - symphonic wind and bass
Beethoven: Symphony No.7 Op.92 Mvt.III Presto - symphonic wind and bass
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Classique
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Ludwig van Beethoven
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Ray Thompson
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Beethoven: Symphony No.7 Op.92
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble - Level 5 - SKU: A0.553744 Composed by Ludwig van Beethoven. Arranged by Ray Thompson. Classical,Holiday,Standards. Score and parts. 81 p...
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Large Ensemble - Level 5 - SKU: A0.553744 Composed by Ludwig van Beethoven. Arranged by Ray Thompson. Classical,Holiday,Standards. Score and parts. 81 pages. RayThompsonMusic #3692009. Published by RayThompsonMusic (A0.553744). An arrangement for double wind quintet.(and bass)This is the third movement of the symphony.It is a scherzo in F major and a trio in D major. In Beethoven's original orchestral composition the trio (based on an Austrian pilgrims' hymn is played twice rather than once.This expansion of the usual A–B–A structure of ternary form into A–B–A–B–A was quite common in other works of Beethoven of this period.The movement is written lasts almost 10 minutes, making it a bit of a blow for the wind playersI have included an optional cut.This becomes as A-B-A movement, followed by the 4 bar coda, and final presto.The horn parts are mainly Beethoven's, with some additions of mine...the parts are for Horns in D, (Horns in F are included)The clarinet parts are for clts in A ( as the original), I also include clarinet in Bb parts.
$15.95 ≈
£12.17
Hallelujah Chorus from Handel's Messiah
Hallelujah Chorus from Handel's Messiah
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Classique
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George Frideric Handel
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C Blankenship
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Hallelujah Chorus from Handel'
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C Blankenship
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SheetMusicPlus
Large Ensemble Choir - Level 5 - SKU: A0.899601 Composed by George Frideric Handel. Arranged by C Blankenship. Baroque. Score and parts. 81 pages. C Bla...
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Large Ensemble Choir - Level 5 - SKU: A0.899601 Composed by George Frideric Handel. Arranged by C Blankenship. Baroque. Score and parts. 81 pages. C Blankenship #4984983. Published by C Blankenship (A0.899601). Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the version of the Psalms included with the Book of Common Prayer. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text is an extended reflection on Jesus Christ as Messiah. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only scene taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the Hallelujah chorus. In Part III he covers the resurrection of the dead and Christ's glorification in heaven. Handel wrote Messiah for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified by (among others) Mozart. In the late 20th and early 21st centuries the trend has been towards reproducing a greater fidelity to Handel's original intentions, although big Messiah productions continue to be mounted. (Notes provided are from the WindRep Project & Wikipedia)
$50.00 ≈
£38.16
Crosswinds
Crosswinds
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Contemporain
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Kyle Vanderburg
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Crosswinds
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NoteForge
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SheetMusicPlus
Instrumental Duet Clarinet,Instrumental Duet,Synthesizer - Level 5 - SKU: A0.1002834 Composed by Kyle Vanderburg. Contemporary. Score and parts. 11 page...
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Instrumental Duet Clarinet,Instrumental Duet,Synthesizer - Level 5 - SKU: A0.1002834 Composed by Kyle Vanderburg. Contemporary. Score and parts. 11 pages. NoteForge #5319515. Published by NoteForge (A0.1002834). Crosswinds represents a melding of the traditional woodwind sound of the clarinet with digital live electronic techniques, and the piece explores the potential for this relationship in three parts.To begin the piece, the stage performer breathes through the clarinet, which serves to inform the electronic elements to come. This initial breath is captured by the computer program and is modified and reduplicated to create the sonic tone of a soft wind always present beneath the piece to come. This is the first step in uniting the digital and woodwind elements, as the same breath which animates the clarinet also activates the electronics.From this most fundamental element, the breath becomes a single sustained note from which the computer will generate all of its subsequent tones. The impression is one of a mentor relationship, where the traditional instrument provides the tools and the support for the electronic elements. The disposition is contemplative, though it alternates between a subdued easiness and a playful mystery, as if to introduce the digital aspects to the range and variety of the clarinet’s moods. The rapport between the two is hesitant in the first part: the electronics contributing a subtle reverb as the performer teaches the computer dexterity through a number of broad leaps, hinting at but never fully embracing the main motif.As the theme becomes more self-assured, the digital element now produces its own tones, parroting the clarinet melody to signal its readiness to be an equal partner in the conversation. As the clarinet begins the second part of the piece, the computer now provides a harmonizing undercurrent each time it is invited to do so by the performer.In the third part, the electronics play counterpoint to the skill of the clarinetist, the two elements intricately entwined. From the elemental sound of wind first produced by the performer and perpetuated by the computer, the piece concludes in a celebration of the relationship built between the two, and the main theme is fully expressed as the two take it in variations.Crosswinds is, in many ways, an experience of the history of our music through the relationship between traditional clarinet and modern digital techniques: the common elements they share, the singularity of their own particular strengths, and the beauty that can be experienced when they collaborate.Patch for live electronics available from https://bitbucket.org/kylevanderburg/crosswinds/downloads/
$7.99 ≈
£6.10
Divergence by The Khromatiks, for Electric Violin & Loop Station
Divergence by The Khromatiks, for Electric Violin & Loop Station
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The Khromatiks
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Divergence by The Khromatiks,
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ViolinVagabond Music
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SheetMusicPlus
Small Ensemble Cello,Electric Violin,Viola - Level 5 - SKU: A0.845980 By The Khromatiks. By Kayleigh Moyer, Kyle Pudenz, and The Khromatiks. Contemporar...
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Small Ensemble Cello,Electric Violin,Viola - Level 5 - SKU: A0.845980 By The Khromatiks. By Kayleigh Moyer, Kyle Pudenz, and The Khromatiks. Contemporary,Jazz,New Age,Rock. Score and parts. 25 pages. ViolinVagabond Music #5742365. Published by ViolinVagabond Music (A0.845980). This is a loop station composition for electric violin that I composed for my live-looping duo, The Khromatiks, in 2014. Doing my part to increase the available repertoire for extended range violins out here on the internet!I originally recorded this tune on a 7-string electric violin with a Boomerang III loop station. That being said, there are plenty of other gear configurations that will work. Any phrase looper/sampler that is capable of playing 2 separate tracks or sections with overdubs will be able to handle this structure, such as the Singular Sound Aeros, Boss RC-30, Ableton Live with a MIDI controller, etc. If you don't play 7-string, a 5-string can also play this chart as written if you transpose the bass stave up one octave and use an octave pedal for the pizzicato bass lines. A standard 4-string can also work, although most phrases will have to be transposed 8va.A little about this tune: there are 2 distinct sections. The first is a latin groove with a a highly syncopated chopping groove and a simple, soaring melodic head. This section can be opened up for a variety of solo ideas from jazz to Latin to funk, before it transitions using a common tone into the bridge, which is more of an epilogue. This section has much more of a heavy rock bent, with a thick stack of string overdubs that mimic an orchestra sitting over an overdriven rhythm groove, and a breakdown where aggressive drum fills are accompanied by rhythmic chugging in the violin. Finally, all of these ideas culminate as the A section melody is re-introduced over the rock groove, building to an ultimate climax.With The Khromatiks this piece was performed as a duo with violin & drums/percussion, but also works as a violin solo. I usually add additional percussive loops when I perform this solo.I have also included three auxiliary string parts, which can be used to perform this piece with a string section or an orchestra. The parts line up with the second section of the tune and replace some of the loops with live parts. You can see an example of this arrangement in the following video: https://youtu.be/IO30qF2WlR8?t=230The sky is the limit for electric violinists, so feel free to get creative with this chart and make it your own!Please, if you have questions or suggestions, feel free to contact me via my website, www.kylepudenz.com/, or on Instagram @theviolinvagabond
$7.99 ≈
£6.10
Seven Serapés for Six Pianos (Parts only)
Seven Serapés for Six Pianos (Parts only)
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Igor Korneitchouk
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Seven Serapés for Six P
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Studio at the Post
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SheetMusicPlus
Level 5 - SKU: A0.1124743 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 98 pages. Studio at the Post #725501. Published by Studio at...
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Level 5 - SKU: A0.1124743 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 98 pages. Studio at the Post #725501. Published by Studio at the Post (A0.1124743). Parts only (see A725494 for Score). Duration: 22 – 24 minutes, Six Parts between 12 – 16 pp. Description: Each of the SerapeÌs has a programmatic subtitle that gives the listener a hint as to how to listen. SerapeÌs Nos. 1, 4 and 7 (subtitled Three Brothers) divide up the collection symmetrically as all three share variations of the same set of motivic layers. Nonetheless, despite their common genetic heritage, the three brothers all have radically different personalities. SerapeÌ No. 2 is called Burro for its loping cowboy-swing. Its seemingly infinite upward-spiraling progression through succeeding tonal centers reminds one of the mules on the switchbacks of the Grand Canyon. SerapeÌ No. 3, Starry Night, employs one of Korneitchouk's favorite devices of combing complex order out of chaos. Overlapping melodic patterns in 7/8, 8/8, 9/8, 10/8, 11/8, and 13/8 emerge -- three at a time -- out of constellations of apparently random notes. The brutal SerapeÌ No. 5, L.A. Smog, is rude. This SerapeÌ starts as a sonorous block of jackhammer intensity that later reveals itself to be in a very brisk 5/8 meter. In contrast, SerapeÌ No. 6 is the most peaceful and static SerapeÌ. It includes a musical portrait of the composer's refrigerator turning itself on and off in the dead of night. A drone, which suggests the 60-cycle hum of the refrigerator, anchors the subtle shifting and overlapping harmonies of the piece.
$5.02 ≈
£3.83
Seven Serapés for Six Pianos - Score Only
Seven Serapés for Six Pianos - Score Only
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Igor Korneitchouk
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Seven Serapés for Six P
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Studio at the Post
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SheetMusicPlus
Level 5 - SKU: A0.1125661 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 110 pages. Studio at the Post #725494. Published by Studio a...
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Level 5 - SKU: A0.1125661 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 110 pages. Studio at the Post #725494. Published by Studio at the Post (A0.1125661). Score only (see A725501 for Parts). Duration: 22 – 24 minutes, 217 pp. reduced to 108 pp. Description: Each of the SerapeÌs has a programmatic subtitle that gives the listener a hint as to how to listen. SerapeÌs Nos. 1, 4 and 7 (subtitled Three Brothers) divide up the collection symmetrically as all three share variations of the same set of motivic layers. Nonetheless, despite their common genetic heritage, the three brothers all have radically different personalities. SerapeÌ No. 2 is called Burro for its loping cowboy-swing. Its seemingly infinite upward-spiraling progression through succeeding tonal centers reminds one of the mules on the switchbacks of the Grand Canyon. SerapeÌ No. 3, Starry Night, employs one of Korneitchouk's favorite devices of combing complex order out of chaos. Overlapping melodic patterns in 7/8, 8/8, 9/8, 10/8, 11/8, and 13/8 emerge -- three at a time -- out of constellations of apparently random notes. The brutal SerapeÌ No. 5, L.A. Smog, is rude. This SerapeÌ starts as a sonorous block of jackhammer intensity that later reveals itself to be in a very brisk 5/8 meter. In contrast, SerapeÌ No. 6 is the most peaceful and static SerapeÌ. It includes a musical portrait of the composer's refrigerator turning itself on and off in the dead of night. A drone, which suggests the 60-cycle hum of the refrigerator, anchors the subtle shifting and overlapping harmonies of the piece.
$9.03 ≈
£6.89
Of Maker and Movement - percussion quartet
Of Maker and Movement - percussion quartet
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Jennifer Bellor
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Of Maker and Movement - percus
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Bellor
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SheetMusicPlus
Mixed Percussion,Percussion Quartet Djembe,Glockenspiel,Mallet Percussion,Marimba,Multi-Percussion,Triangle,Vibraphone,Xylophone - Level 5 - SKU: A0.1245976...
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Mixed Percussion,Percussion Quartet Djembe,Glockenspiel,Mallet Percussion,Marimba,Multi-Percussion,Triangle,Vibraphone,Xylophone - Level 5 - SKU: A0.1245976 Composed by Jennifer Bellor. 21st Century,Chamber,Classical,Contemporary. 94 pages. Bellor #840807. Published by Bellor (A0.1245976). Of Maker and Movement (2019) Duration: 16 minutesI. Pendulum Surround (4'30)https://youtu.be/0AD6UCc9MHsII. Quartz Revolution (8')https://youtu.be/mLq-CfM8SBkIII. Dance of Hands (3'30)https://youtu.be/Y7HfGIOAqoEAll of these movements have motivic connections to each other, but can also be stand alone pieces. Additionally, the movements can be presented in any order, although the most common order is indicated in the score. FLEXIBLE INSTRUMENTATION: The Galvitone are tuned pipes Clocks created for their ensemble. A combination of glockenspiel and crotales can be used in place of this instrument. The Aquarion is a glass marimba built for this piece. Another instrument, such as the MalletKAT, keyboard, or combination of marimba and vibraphone can be used in instead. Of Make and Movement was commissioned by the Clocks in Motion percussion quartet. This is the first percussion quartet I wrote for them as their resident Clock Shop composer. Growing up surrounded by many antique clocks in my childhood home, I was inspired to create a piece that, for me, encapsulates some of the ways these clocks show the passing of time: the swinging of a pendulum, aging crystals in a quartz clock, and how the continuous movement of the hands could represent how we are in this continuous dance with time.
$69.99 ≈
£53.42
Road Movie for 16-part Trombone Ensemble
Road Movie for 16-part Trombone Ensemble
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Contemporain
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Siegel, Wayne
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Road Movie for 16-part Trombon
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.792344 Composed by Siegel, Wayne. 20th Century,Contemporary. Score and parts. 197 pages. Gordon Cherry #4806...
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Brass Ensemble Trombone - Level 5 - SKU: A0.792344 Composed by Siegel, Wayne. 20th Century,Contemporary. Score and parts. 197 pages. Gordon Cherry #4806555. Published by Gordon Cherry (A0.792344). Road Movie was commissioned by Professor Niels-Ole Bo Johansen of the Royal Academy of Music, Arhus Denmark and premiered in Salt Lake City Utah for the International Trombone Festival 2008. Wayne Siegel has written a compelling and dramatic musical canvas using a large, 16-part Trombone Ensemble. He uses many special effects on the Trombone to give his score a vivid sound imagery. Road Movie consists of three movements, each depicting a scene in an imaginary road movie. The first movement, AM, is set on an early morning on a country highway. The abbreviation AM is, of course, ambiguous, implying both the early hours of the day as well as the type of radio that was most common in cars in my youth. The second movement, Canyon Canon depicts a landscape inspired by the Grand Canyon. The third movement, Highway, the road movie comes to a most tragic end. This work of about 23 minutes in length is appropriate for advanced performers.
$52.50 ≈
£40.07
Clarinet Styles
Clarinet Styles
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Leslie Searle
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Clarinet Styles
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Schott Music - Digital
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SheetMusicPlus
Rhythm accompaniment - advanced - SKU: S9.Q41760 20 duets. Composed by Leslie Searle. This edition: separate part. Downloadable, Individual part....
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Rhythm accompaniment - advanced - SKU: S9.Q41760 20 duets. Composed by Leslie Searle. This edition: separate part. Downloadable, Individual part. Schott Music - Digital #Q41760. Published by Schott Music - Digital (S9.Q41760). In this collection, the British jazz musician Leslie Searle presents his own compositions in a variety of the most common musical styles of modern jazz and dance music. With the accompanying audio containing an audio and play-along version of each piece, you will enjoy listening to the different styles and playing along with the backing tracks recorded live with piano, bass and percussion. Those who want to perform the pieces without CD can use the available accompanying book for the rhythm section which contains accompanying parts for piano, bass and percussion.
$12.99 ≈
£9.91
Pachelbel: Canon for Solo Contrabass
Pachelbel: Canon for Solo Contrabass
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Classique
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Johann Pachelbel
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James M
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Pachelbel: Canon for Solo Cont
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jmsgu3
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SheetMusicPlus
Double Bass,Instrumental Solo - Level 5 - SKU: A0.552085 Composed by Johann Pachelbel. Arranged by James M. Guthrie. Baroque,Instructional,Standards,Wed...
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Double Bass,Instrumental Solo - Level 5 - SKU: A0.552085 Composed by Johann Pachelbel. Arranged by James M. Guthrie. Baroque,Instructional,Standards,Wedding. Individual part. 2 pages. Jmsgu3 #6116385. Published by jmsgu3 (A0.552085). The famous wedding classic arranged for Solo Contrabass.Duration: 2:12Score: 2 pages.The famous Pachelbel Canon arranged for Solo Contrabass. A great choice for weddings & receptions! Pachelbel's Canon Pachelbel's Canon is, in fact, the traditional title for a composition by the German composer Johann Pachelbel. Other names for the work include namely: Canon and Gigue for 3 violins and basso continuo, Canon and Gigue in D, and of course Canon in D. We do not know when or why in particular it was written. The oldest copy is surprisingly from the 19th century. It is important to realize that it was a common routine for organists to practice improvisation on the chord progression underlying the canon. Pachelbel originally scored the Canon notably for three violins and continuo. He also in fact paired the Canon with a gigue. The movements are homotonal, to clarify, both are in the key of D major. History In due time, Pachelbel's Canon went out of style and remained in virtual oblivion for centuries. The Jean-François Paillard chamber orchestra, however, recorded an arrangement of it in 1968. As a result, it gained approval. Many ensembles began likewise to record the piece in the 1970s and by the 1980s became ubiquitous as background music. From the 1970s to the early 2000s, pop songs correspondingly used elements of the piece. The chord progression, in particular, was used this way. Also, since the 1980s, it has been not only wildly popular for weddings, but also for funeral ceremonies in the USA and Europe. Pachelbel Background Johann Pachelbel (1653 –1706) was a German composer, as well as an organist. He was furthermore instrumental in bringing the south German organ school to its apex. He wrote a large body of music, both sacred and, equally important, secular. In particular, he uniquely helped develop the chorale prelude and fugue. For this, he has, in fact, earned a rightful place in the company of the most significant composers of the mid-Baroque period. Works Pachelbel's music was certainly popular. With this in mind, he also consequently had many pupils. His music expressly developed into a model for south German composers. Nowadays, Pachelbel is most famous, particularly for the Canon in D, as well as the F minor Chaconne, the Toccata in E minor, and of course the Hexachordum Apollinis, a set of variations for the keyboard. Influences Johann Jakob Froberger and Johann Caspar Kerll were south German composers who significantly influenced Pachelbel. Furthermore, he was especially influenced by Italians such as Frescobaldi and Poglietti. He frequently preferred an articulate, simple contrapuntal style that highlighted clarity. His music is markedly less extravagant and harmonically adventurous than that of Dieterich Buxtehude. However, as a point often overlooked, like Buxtehude, Pachelbel experimented with different instrumental combinations in his chamber music. Legacy All in all, Pachelbel was most famous as a composer for the keyboard. He composed over two hundred pieces specifically for the instrument. Pachelbel was also surprisingly a prolific composer of vocal music. All in all, about a hundred vocal works survive, including 40 or so large-scale works.
$34.95 ≈
£26.68
Doubt & Determination (An Epic Sonata of Indeterminacy)
Doubt & Determination (An Epic Sonata of Indeterminacy)
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Dennis Garretson
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Doubt & Determination
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Dennis Garretson
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SheetMusicPlus
Small Ensemble Flute,Soprano Saxophone,Tenor Saxophone,Violin - Level 5 - SKU: A0.993652 Composed by Dennis Garretson. 20th Century,Baroque,Contemporary...
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Small Ensemble Flute,Soprano Saxophone,Tenor Saxophone,Violin - Level 5 - SKU: A0.993652 Composed by Dennis Garretson. 20th Century,Baroque,Contemporary. Score and parts. 5 pages. Dennis Garretson #4580777. Published by Dennis Garretson (A0.993652). Description:Doubt & Determination bridges the gaps between musical eras, as one would hear certain nuance that dates back to the Baroque era but possess a rather modern musical structure. The piece challenges both the listeners and the player themselves. For the public ears, one will have to adapt the performer's perspectives to 'feel' the piece. As the title suggests, both 'Doubt' and 'Determination' are two human perceptions that oppose each other, to understand the music is to find common grounds between them, through unexpected cadences and dynamic change. The performer will have to deliver the technicalities of bringing them together, through detail instructions on dynamics and tempo change. The piece is modeled in Sonata Form. however, it is to be approached with indeterminacy, occasionally granting the performer the freedom through Tempo Rubato and Breath Perceptions.Practice Suggestion:This music can only prevail through expression, thus the commitment for dynamic is of the utmost importance. It is highly suggested to understand what makes this piece unique, a score analysis is always a good start. Mark out the accents (Staccato and Emphasis) and the tempo change. Establish breathing points since the piece has very minimal instructions for that, it is hence highly dependent on the performer's capability to deliver.A proper mindset is essential for the perfect performance.Instrumentations:Certain instruments are optional if a soprano saxophone is proven unavailable. The permitted exceptions are Violins (high strings with nuance deliverance) and Woodwinds within the tenor and soprano range.About the ComposerDennis Garretson is young Pianist, Improviser and Composer.Born and raised in Hong Kong, he started as a self-taught composer in high school. and became increasingly influenced by Hollywood &Blockbuster sounds, which paved the way towards discovering his passion towards the realm of orchestral music & film scores. He produced his first soundtrack when he was 17 and secured his first Media Award in the 12th Annual Hong Kong Film Art Association for the best original composition.Currently pursuing a music degree in Nova Scotia Canada, Dennis has the honorable opportunity of studying under multi Juno nominated composer - Peter Togni. His style of writing could be described as - Adaptive Story Telling, allowing listeners to have their very own unique interpretations of what the music could be about while anchoring within reach of the composer's core idea. Dennis strives to be a composer of true versatility, albeit his primary interest remains committed to film scores. He has written in the styles of Schoenberg's 12-tone techniques and has gone as polar as modern movie and trailer music. His music has been commissioned for short films and could be heard on various media platforms.For work inquiry, please contact through social media.
$6.99 ≈
£5.34
City Life
City Life
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Jazz
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Reese Rosbrook
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City Life
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Reese_Rosbrook
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SheetMusicPlus
Double Bass,Drum Set,Percussion,Piano and Keyboard,Tenor Saxophone - Level 5 - Interactive Download SKU: A0.1227644 Composed by Reese Rosbrook. This edit...
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Double Bass,Drum Set,Percussion,Piano and Keyboard,Tenor Saxophone - Level 5 - Interactive Download SKU: A0.1227644 Composed by Reese Rosbrook. This edition: Interactive Download. Jazz. 10 pages. Duration 149. Reese_Rosbrook #6P4oLzKV6tnK36zxmQL5n3. Published by Reese_Rosbrook (A0.1227644). Key: Ab major.It's been a while since I've made a jazzy piece, and being inspired from a recent trip to New York City really brought the jazz out of me. This one is super special, because it describes what life is like in the city. The A section is your common stroll, let's say through Central Park or down the block. The beat never stops with anyone. Everyone just keeps walking, and this constant bass line represents that. The B section represents the unexpected. You decide to walk through the subway, encountering a man playing tunes on a funky guitar. The weird chords and rhythms emphasize the curiosity of the music you're hearing. And finally, the C section represents the city lights. Beautiful, aren't they? Yet, unusual at the same time, represented by the 7/4 time signature. (Which was my first time using that time signature, how do you think I did?) I had fun writing this. I'm currently working on a research paper on the Origins of Jazz, and it kind of got me into a Dave Brubeck mood. Thanks for listening! -Reese.
$2.99 ≈
£2.28
Lectures différentes
Lectures différentes
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Peter Eotvos
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Lectures différentes
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Schott Music - Digital
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SheetMusicPlus
4 saxophones (SATBar) - difficult - SKU: S9.Q46011 For saxophone quartet. Composed by Peter Eotvos. This edition: score and parts. Downloadable, ...
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4 saxophones (SATBar) - difficult - SKU: S9.Q46011 For saxophone quartet. Composed by Peter Eotvos. This edition: score and parts. Downloadable, Score and parts. Duration 9 minutes. Schott Music - Digital #Q46011. Published by Schott Music - Digital (S9.Q46011). I got the idea of writing this piece during a rehearsal with Klaus Michael Grüber I saw in Berlin. Three actors were rehearsing a scene of Kleist. At the end, Grüber said: ‘… now once again in a different way.’ The text was identical but the interpretation was completely different and had almost nothing in common with the previous version. My piece is going in that direction too. In ‘Scène 1/A’ I imposed a certain character, and in ‘Scène 1/B lecture différente’ the same material is interpreted in a completely different way. The same is true in the second scene. Peter Eötvös.
$40.99 ≈
£31.29
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