Partitions Numériques de Dead To The World pour Voix Soprano, Piano

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Dead To The World
Non classifié 39

Piano & claviers
Piano, Voix et Guitare 33
Piano, Voix 22
Piano seul 21
Piano grosses notes 2
Orgue 2

2 Pianos, 4 mains 1
Piano Facile 1
1 Piano, 4 mains 1
Instruments en Do 1

+ 4 instrumentations

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Guitares
Guitare notes et tablatures 7
Paroles et Accords 1
Basse electrique 1

Voix
Chorale SATB 22
Chorale 2 parties 4
Chorale TTBB 3
Chorale 3 parties 3
Chorale SSAA 2

Voix moyenne, Piano 1
Voix duo, Piano 1
Voix haute 1
Chorale Unison 1
Voix Soprano, Piano 1

+ 5 instrumentations

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Vents
Quatuor de Clarinettes: 4 clarinettes 2
Saxophone (partie séparée) 1
Hautbois (partie séparée) 1
Hautbois, Piano (duo) 1
Clarinette 1

Quatuor de Flûtes : 4 flûtes 1
Flûte, Hautbois, Clarinette (trio) 1
Saxophone Alto 1

+ 3 instrumentations

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Cuivres
Trompette 3
Quatuor de Cuivres 1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 1

Cordes
Harpe 7
Quatuor à cordes: 2 violons, alto, violoncelle 4
Trio à Cordes: 2 violons, violoncelle 1
Violon et Piano 1
Trio à Cordes: violon, alto, violoncelle 1

Violoncelle, Piano 1
Violoncelle , Guitare (duo) 1
Harpe, Flûte (duo) 1
Violon 1
Violoncelle (partie séparée) 1

+ 5 instrumentations

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Percussions & orchestre
Orchestre d'harmonie 15
Orchestre de chambre 10
Orchestre 7
Orchestre à Cordes 1
Marimba 1

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Dead To The World

Voix Soprano, Piano

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1 partition trouvée

Pictures at an exHERbition

Pictures at an exHERbition #Voix Soprano, Piano #INTERMÉDIAIRE/AVANCÉ #Contemporain #Sally Whitwell #Pictures at an exHERbition #Sally Whitwell #SheetMusicPlus

Soprano voice,Vocal Solo - Level 4 - SKU: A0.873044 Composed by Sally Whitwell. Contemporary. 12 pages. Sally Whitwell #6130719. Published by Sally Whit...(+)

Soprano voice,Vocal Solo - Level 4 - SKU: A0.873044 Composed by Sally Whitwell. Contemporary. 12 pages. Sally Whitwell #6130719. Published by Sally Whitwell (A0.873044). If you really pushed me to make a call, Mussorsgkyâ€™s Pictures at an Exhibition would be one of my favourite pieces in the classical repertoire. Somewhat outrageously, for a pianist, I prefer the colours and textures of the orchestrated version. I reasonably regularly listen to it, especially in transit. But to be honest, itâ€™s not the kind of music that I perform all that often i.e. music by dead, white, male composers. I mean, itâ€™s 2020 and as the meme says I canâ€™t believe I still have to protest this sh*t. And I feel it too for those in the visual art world. I mean, things are a good deal better over there in contemporary art world, where women are exhibited regularly and everyone seems to embrace it without a fuss. As for women artists from centuries gone by, itâ€™s less good news but theyâ€™re working on it. Iâ€™m reminded of the situation daily as my older brother, who is excellent at choosing gifts thoughtfully, gave me some Guerrilla Girls merchandise which I use as an iPad cover. Entitled Advantages of Being a Woman Artist, itâ€™s a list of truths thatâ€™s pretty relatable for any creative woman. My favourite bit - Being reassured that whatever kind of art you make it will be labeled feminine. Ooft. Too real. And so I conceived of this song cycle as a kind of gift for those fighting the traditional, patriarchal structures of the entire creative sector. Three songs, inspired by three works by three wonderful Australian women artists of last century. All are depictions of scenes around Sydney Harbour. In-curve is inspired by Grace Cossington Smithâ€™s The Bridge in-curve, a depiction of an unfinished Sydney Harbour Bridge, painted in 1930 The Code is inspired by Thea Proctorâ€™s woodcut print Women with fans. It is thought to be a portrait of two other artists, printmakers Ethel Spowers and Eveline Syme, sitting above Rushcutters Bay. Where would we sail? is inspired by a very different view of the same location Still life and Rushcutters Bay by Margaret Olley.

$10.00 ≈ 9.35€

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