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We Do What We Can
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Partitions à imprimer
25 partitions trouvées
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1
Oh, No! What We Gonna' Do?
Oh, No! What We Gonna' Do?
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Mike Nawrocki and Phil Vischer
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Addison Horner
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Oh, No! What We Gonna' Do?
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Addison Horner
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SheetMusicPlus
Choral Alto Voice,Bass Voice,Soprano voice,Tenor Voice - Level 5 - Interactive Download SKU: A0.480838 Composed by Mike Nawrocki and Phil Vischer. Arrang...
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Choral Alto Voice,Bass Voice,Soprano voice,Tenor Voice - Level 5 - Interactive Download SKU: A0.480838 Composed by Mike Nawrocki and Phil Vischer. Arranged by Addison Horner. This edition: Interactive Download. Children,Film/TV,Praise & Worship. Octavo. Duration 105. Addison Horner #1NLEgOasfRPU2avvIN454e. Published by Addison Horner (A0.480838). Key: E major.Enjoy this SATB arrangement of Oh No! What We Gonna' Do? from the classic VeggieTales episode Daniel and the Lion's Den. Please feel free to edit this arrangement to fit your group's style and sound! You can find a TTTB version of this score on Noteflight Marketplace as well. This arrangement features two- and three-part splits in the Soprano and Alto parts. If you're looking for custom arrangements through Noteflight, contact me at thehashtagmusician@gmail.com.
$4.99 ≈
4.58€
What do they matter? (for medium-high voice and harp)
What do they matter? (for medium-high voice and harp)
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Contemporain
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Nicole Elyse DiPaolo
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What do they matter?
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Nicole Elyse DiPaolo
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SheetMusicPlus
Small Ensemble Harp,Voice - Level 5 - SKU: A0.799604 Composed by Nicole Elyse DiPaolo. 20th Century,Contemporary. Score and parts. 4 pages. Nicole Elyse...
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Small Ensemble Harp,Voice - Level 5 - SKU: A0.799604 Composed by Nicole Elyse DiPaolo. 20th Century,Contemporary. Score and parts. 4 pages. Nicole Elyse DiPaolo #3417119. Published by Nicole Elyse DiPaolo (A0.799604). This short song was composed in 2012 during my doctoral coursework at Indiana University's Jacobs School of Music. It was written for tenor, but given its accessible range (Db4 to G5 in the original key), it would work well for lighter voices in many fachs, including light lyric sopranos, baritones, and mezzos. The text, translated from a poem by Takuboku Ishikawa (1886-1912), is gender-neutral. This would be a great introduction to new music for an undergraduate singer with strong aural skills and a still-light voice (since young dramatics might overpower the harp).If you'd like to talk about commissioning a transposed score, please get in touch! Transposition options will be a bit more limited with the harp than with the piano, but I'm sure we could make something work.Poem text (in English translation, as it appears in the score)Setting sun, Drifting clouds, New moon, Evening twilight, What do they matter to me?Composer biography:Nicole Elyse DiPaolo is a versatile composer, teacher, collaborative pianist, and music theorist currently based in Bloomington, Indiana. Currently a PhD candidate in music theory at Indiana University, she recently completed a doctoral minor in composition, having studied with Claude Baker, Don Freund, P. Q. Phan, and David Schneider. She also holds a B.Mus. from the University of Michigan, where she studied composition with Bright Sheng and piano with Louis Nagel. Nicole's music has been heard across the world: along with numerous performances in the Midwest, her commissioned song settings of Muscogee poet laureate Alexander Posey's texts have been performed at Shorter College (GA) and Lincoln University (PA), and the Smithsonian Institution procured copies of two of these (Nature's Blessings and A Vision) to archive at the National Museum of the American Indian. Additionally, Nicole's viola duo Three Episodes was featured at Ball State University's 40th Annual New Music Festival in February 2010. Her early compositions have been garnering interest as well: music students in Kenya performed several of Nicole's such pieces in May 2013 through a pedagogical project spearheaded by IU faculty member Kimberly Carballo. Nicole's music also received its Mexican premiere in October 2013 with a performance of her Divertimento, written for the International String Quartet of Yucatán. In 2014, Nicole published a set of twenty short pedagogical pieces in uncommon keys, entitled Venturing Beyond, available on SheetMusicPlus. Also a sought-after teacher and adjudicator, Nicole frequently judges regional and divisional MTNA composition competitions at all levels, ranging from elementary to college-level Young Artists, and she also served as the composition department chair at Blue Lake Fine Arts Camp in 2014. For more on Nicole DiPaolo and her varied musical pursuits, visit her website at http://ndipaolo.musicaneo.com !
$5.99 ≈
5.50€
Look What You Made Me Do
Look What You Made Me Do
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Piano seul
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AVANCÉ
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Taylor Swift
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Yo Matsumoto
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Look What You Made Me Do
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Yo Matsumoto
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1399413 By Taylor Swift. By Fred Fairbrass, Jack Antonoff, Richard Fairbrass, Rob Manzoli, and Taylor Swift. Arranged by ...
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Piano Solo - Level 5 - SKU: A0.1399413 By Taylor Swift. By Fred Fairbrass, Jack Antonoff, Richard Fairbrass, Rob Manzoli, and Taylor Swift. Arranged by Yo Matsumoto. Contest,Disco,Festival,New Age,Pop,Singer/Songwriter. Score. 2 pages. Yo Matsumoto #982697. Published by Yo Matsumoto (A0.1399413). It's a powerful song that is uncharacteristic of Taylor.The quality of your performance will largely depend on how effectively you can create the dynamics of the sub.*This song was created as a medley, so the reference video is also a medley. Due to copyright issues, we only sell sheet music one song at a time.
$5.00 ≈
4.59€
We Gather Together - Vol. 2 - Bradley Sowash
We Gather Together - Vol. 2 - Bradley Sowash
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Piano seul
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AVANCÉ
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Musique Sacrée
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Bradley Sowash
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Bradley Sowash
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We Gather Together - Vol. 2 -
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Bradley Sowash
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1153721 By Bradley Sowash. By Bradley Sowash. Arranged by Bradley Sowash. Christian,Jazz,Praise & Worship,Religious,Spiri...
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Piano Solo - Level 5 - SKU: A0.1153721 By Bradley Sowash. By Bradley Sowash. Arranged by Bradley Sowash. Christian,Jazz,Praise & Worship,Religious,Spiritual. Score. 53 pages. Bradley Sowash #753982. Published by Bradley Sowash (A0.1153721). Best loved hymns and spirituals transformed Arranger’s description The songs in this collection represent some of the best-loved hymns and spirituals in America. Their durability is intriguing. Generations of handing down new renditions have reduced them to their essential qualities. This ‘essence’ offers a composer and musician plenty of room for interpretation and improvisation. Memorable melodies such as these make great material for variations since the listener, knowing the tune so well, can appreciate its changing directions. I also find new vitality by underpinning old songs with modern rhythmic textures: what jazz musicians call the groove. Shorter songs call for original but stylistically similar additional sections. The addition of blue notes, favorite licks, alternative harmonies and improvisations helps me reinterpret this familiar music into nearly original compositions. Having sought to make them my own, I now invite you to do the same. Publisher's description In his unique, rhythmic style, Sowash transforms some of the best-loved hymns and spiritual songs of all time into nearly original selections for solo jazz piano. Chord symbols are included to encourage improvisation and ensemble arrangements. - Augsburg Fortress.
$19.95 ≈
18.32€
Broke - Chose Money Over Me
Broke - Chose Money Over Me
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Ensemble Jazz
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AVANCÉ
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Gbērē Dodoh
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Broke - Chose Money Over Me
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Holyone Tombari Dodoh
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 5 - SKU: A0.518631 By Gbērē Dodoh. By Holyone Tombari Dodoh. 20th Century,Blues,Jazz,Pop,Romantic Period. Sc...
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Jazz Ensemble Jazz Ensemble - Level 5 - SKU: A0.518631 By Gbērē Dodoh. By Holyone Tombari Dodoh. 20th Century,Blues,Jazz,Pop,Romantic Period. Score and parts. 100 pages. Holyone Tombari Dodoh #129341. Published by Holyone Tombari Dodoh (A0.518631). The broken hearted. Lyrics performed by an Open Source Virtual Singer Software (bot). Score and parts included. Lyrics No, no, no, no, no! Can't hide it anymore, She's happy but I'm hurt, I want to be her joy; She said I'm so annoy'ng, Baby I'm so sorry! Baby I'm so sorry! She has no hope in me making it big, She saw no future in me becoming rich, She chose luxury over me; Baby I'm so sorry! She saw no happiness with me so soon, She chose money over me Because I was broke; We ate together, We laughed together; We loved each other: She said she love me I am everything to her, She said I meant the world and the life in her, But she chose luxury over me, Baby I'm so sorry! Luxury so sweet; the life she feels I cannot give, She chose money over me Because I was broke; I was out in the colds Just to gist with you, I know my failures Made me look senseless And my path rejections Made me look worthless; I buried my labour just to make you so happy And sweet smile on your face gave me joy and hope on my dreams I will never forget you, I will always remember, For the memory of you Had consumed my thoughts, Baby I'm so sorry! Baby I'm so sorry! I thought I was the one for you all this while, I hope your luxury will love and care for you More than the way I would love and care for you, Because I thought my little love was just enough She chose money over me Because I was broke; No, no, no, no, no! Can't hide it any more, She's happy but I'm hurt, I want to be her joy; She said I'm so annoy'ng, Baby I'm so sorry! Baby I'm so sorry! My dreams of promises to her is gone with her For it never became a reality, I told her to never leave me. She said I'm giving her tough times. I called her my Belov'd the one in whom I am well pleased, I told her it will be all right for one day we Will make it to the top of the World together, But she never believed me Because I was broke; She started feeling bored for texting and chatting with me; She started laying False accusations against me; I denied pleasure and Distance just to be with her And made her so happy But she could not do same for me, Baby I'm so sorry! Baby I'm so sorry! She suspects me for what I do not know, I had to let it go For her to be happy Because that's what she wants! Baby I'm so sorry! Baby I'm so sorry! It's hard to say the word Because I was broke; Baby I'm so sorry! Baby I'm so sorry! Baby I'm so sorry! Baby I'm so sorry!
$6.70 ≈
6.15€
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)
$23.99 ≈
22.03€
9.28.85
9.28.85
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Trombone
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AVANCÉ
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Drake Mabry
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9.28.85
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Drake Mabry
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SheetMusicPlus
Trombone Solo - Level 5 - SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published ...
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Trombone Solo - Level 5 - SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.
$7.99 ≈
7.34€
Earmarks
Earmarks
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Contemporain
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Kyle Vanderburg
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Earmarks
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NoteForge
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SheetMusicPlus
Instrumental Duet,Piano Alto Saxophone,Clarinet,Instrumental Duet,Piano - Level 5 - SKU: A0.1002829 Composed by Kyle Vanderburg. Contemporary. Score and...
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Instrumental Duet,Piano Alto Saxophone,Clarinet,Instrumental Duet,Piano - Level 5 - SKU: A0.1002829 Composed by Kyle Vanderburg. Contemporary. Score and parts. 46 pages. NoteForge #3885237. Published by NoteForge (A0.1002829). Earmarks is a musical (and hopefully humorous) view of some of the issues in today's political climate, designed to make you make you laugh--or to make you think. And definitely to make you talk. It starts out with Echo Chamber, where everything you hear is everything you want to hear. As we move more and more of our lives online, we're at the mercy of algorithms that try to deliver more of what we like--and give us options for removing that which we don't. The more time we spend in these echo chambers, the less we hear from dissenters. (The piano tries to come in with a new idea later in the movement, but is largely ignored).The second movement, Filibuster, does what I initially intended. Although all three instruments do get to play, it's a lot of repeated, pleasant-sounding milquetoast stuff without a great deal of substance that never really resolves. And it has a repeat sign at the end that allows it to be played as many times as the performers wish. How long this movement is depends entirely on the whim of the pianist. A swing state is a state with a similar level of support for both parties that can go either way during an election. Likewise, Swing States is a piece for saxophone and piano, and a piece for clarinet and piano, and it's a struggle to see who's going to win. Will they sort out their differences? Will we?
$14.99 ≈
13.76€
In the Bleak Midwinter
In the Bleak Midwinter
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Piano seul
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AVANCÉ
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Noël
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Michael Swedberg
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Terrence Niska
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In the Bleak Midwinter
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Niska Music Publishing
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1125813 By Michael Swedberg. By Gustav Holst. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages....
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Piano Solo - Level 5 - SKU: A0.1125813 By Michael Swedberg. By Gustav Holst. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages. Niska Music Publishing #726553. Published by Niska Music Publishing (A0.1125813). Another arrangement that had its genesis as a vocal chart for Five By Design. However, this piece went on to be performed in our holiday show, “A Winter’s Evening.†I have always loved the Gustav Holst melody to Christina Rossetti’s poem, subsequently it was that setting that I chose to arrange for our group. When I was selecting pieces for my second collection of Christmas Preludes, I knew this would be among them. The piece starts out quite gently, and in my mind’s ear I hear a cello and oboe establishing a mood of utter serenity and calm as the snow gently falls outside the frost-covered window. Soon the oboe is joined by a clarinet as they play a duet while the cello continues the gentle sway of eighth notes. For the pianist, there must be great control of the left hand to keep it as calm as possible while the melody floats above, just as the snow falls to the earth. As the second verse begins, the right hand now plays a triplet pattern beneath the melody. It is a gentle breeze, stirred by the wings of angels and cherubim, upon which the crystalline flakes swirl and dance in the cold night air. All the while the left hand continues its steady motion of eighth notes. Halfway through the triplet pattern moves to the left hand and the right hand takes up the eighth notes while still keeping the melody above all. The verse comes to a close with a slowing of the tempo to emphasize the importance of what the poet states in the last lines of the poem: “Yet what I can I give Him, — Give my heart.†It is all that any of us can do, and all that we are asked to do.
$3.99 ≈
3.66€
Extinction Events - Clarinet Quartet - Mvt 3 - Walrus Jump
Extinction Events - Clarinet Quartet - Mvt 3 - Walrus Jump
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Quatuor de Clarinettes: 4 clarinettes
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AVANCÉ
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Contemporain
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John Gibson
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Extinction Events - Clarinet Q
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JB Linear
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bass Clarinet - Level 5 - SKU: A0.581936 Composed by John Gibson. Contemporary. 19 pages. JB Linear #3457481. Publish...
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Woodwind Ensemble,Woodwind Quartet Bass Clarinet - Level 5 - SKU: A0.581936 Composed by John Gibson. Contemporary. 19 pages. JB Linear #3457481. Published by JB Linear (A0.581936). Extinction Events (3rd movement - Walrus Jump by John Gibson was written as a submission to the International Clarinet Association's 2018 Composition Competition. Written for 3 Bb clarinets and 1 bass clarinet, it is a four movement work for very advanced players. This is the third movement only...the others may be purchased separately: Buzzy Delights, It Isn't Easy Being a Cuckoo, and Yaguarete Surprise (Argentine Jaguar). The entire set of 4 movements may also be purchased. Simply type extinction events Gibson in the search bar at the top.You can watch a You Tube video at https://youtu.be/zdxKbnvD6iI Each movement imagines a different animal or insect living in its habitat as it gradually deteriorates. One might think this would be sad, violent music, but each earthly creature is shown in its musical habitat where it happily does what it does best....bees buzzing around flowers, cuckoos gently calling in the forest, Walruses jumping not so gracefully onto sea ice, Jaguars quietly stalking their prey. The habitat changes are depicted by gradual use of unstable scales, and the sometimes hidden ancient tune of the Dies Irae, the Day of Wrath.The point I wish to make is how humans must be watchful of wildlife habitats because we are all in this limited world together. Where wild creatures go, so do we. It was best said by Jane Goodall: Only if we understand can we care. Only if we care will we help. Only if we help shall they be saved. Walruses are huge aquatic animals who are powerful and swift in the water, but when they jump onto sea ice to rest, they are anything but graceful. They are a bit comical, really. Subsistence hunters in the Bering Strait of Alaska are having trouble with their Spring hunts due to gradual warming of the arctic waters. Sea ice is getting thinner and the Walruses they rely upon to live are getting too far away. This Walrus Jump music is a pretty happy sounding boogie woogie that shows signs of musical distress as it goes on.
$14.00 ≈
12.86€
An Entire Day of a Faun
An Entire Day of a Faun
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Leonard E
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An Entire Day of a Faun
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Leonard E. Lopatin
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SheetMusicPlus
Flute - Level 5 - SKU: A0.1463870 Composed by Leonard E. Lopatin. Chamber,Classical,Instructional. Educational Exercises. 84 pages. Leonard E. Lopatin #...
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Flute - Level 5 - SKU: A0.1463870 Composed by Leonard E. Lopatin. Chamber,Classical,Instructional. Educational Exercises. 84 pages. Leonard E. Lopatin #1042644. Published by Leonard E. Lopatin (A0.1463870). At one time, Claude Debussy’s approach to tonality and color was novel, even radical. Today, his Prélude à l’Après-Midi d’un Faune, is one of the most beloved works in the repertoire, certainly among flutists. That being the case, we’re likely to have a certain color and texture in mind when we play the flute part. So, what can we do to make our practice of this familiar piece more interesting? How about trying to achieve those desired qualities while playing it in different keys or in the extreme high and extreme low registers?You’re not likely to produce the usual languid, transparent sonority if you start the famous opening solo on high F sharp, but there is much to be learned by trying to do just that. Then, when you return to the original tonality, you may find that you have greater command of the passage’s tone color and quality than you’ve ever had before!
$20.00 ≈
18.37€
Extinction Events for Clarinet Quartet
Extinction Events for Clarinet Quartet
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Quatuor de Clarinettes: 4 clarinettes
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AVANCÉ
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Contemporain
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John Gibson
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Extinction Events for Clarinet
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JB Linear
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet - Level 5 - SKU: A0.581932 Composed by John Gibson. Contemporary. 71 pages. JB Linear #3452175. Published by JB Linear (...
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Woodwind Ensemble Bass Clarinet - Level 5 - SKU: A0.581932 Composed by John Gibson. Contemporary. 71 pages. JB Linear #3452175. Published by JB Linear (A0.581932). Extinction Events by John Gibson was written as a submission to the International Clarinet Association's 2018 Composition Competition. Written for 3 Bb clarinets and 1 bass clarinet, it is a four movement work lasting about 11 minutes and is for very advanced players. The movements are: Buzzy Delights (Honey Bees), It Isn't Easy Being a Cuckoo, Walrus Jump, and Yaguarete Surprise (Argentine Jaguar).Each movement imagines a different animal or insect living in its habitat as it gradually deteriorates. One might think this would be sad, violent music, but each earthly creature is shown in its musical habitat where it happily does what it does best....bees buzzing around flowers, cuckoos gently calling in the forest, Walruses jumping not so gracefully onto sea ice, Jaguars quietly stalking their prey. The habitat changes are depicted by gradual use of unstable scales, and the sometimes hidden ancient tune of the Dies Irae, the Day of Wrath.The point I wish to make is how humans must be watchful of wildlife habitats because we are all in this limited world together. Where wild creatures go, so do we. It was best said by Jane Goodall: Only if we understand can we care. Only if we care will we help. Only if we help shall they be saved.Each movement will also be made available separately as time goes by....just waiting for special days like World Wildlife Day!
$17.50 ≈
16.07€
Extinction Events - Clarinet Quartet - Mvt 1 Buzzy Delights
Extinction Events - Clarinet Quartet - Mvt 1 Buzzy Delights
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Quatuor de Clarinettes: 4 clarinettes
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AVANCÉ
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Contemporain
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John Gibson
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Extinction Events - Clarinet Q
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JB Linear
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bass Clarinet - Level 5 - SKU: A0.581934 Composed by John Gibson. Contemporary. 31 pages. JB Linear #3456341. Publish...
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Woodwind Ensemble,Woodwind Quartet Bass Clarinet - Level 5 - SKU: A0.581934 Composed by John Gibson. Contemporary. 31 pages. JB Linear #3456341. Published by JB Linear (A0.581934). Extinction Events (1st movement - Buzzy Delights (honey bees) by John Gibson was written as a submission to the International Clarinet Association's 2018 Composition Competition. Written for 3 Bb clarinets and 1 bass clarinet, it is a four movement work for very advanced players. This is the first movement only...the others may be purchased separately: It Isn't Easy Being a Cuckoo, Walrus Jump, and Yaguarete Surprise (Argentine Jaguar). The entire set of 4 movements may also be purchased. Simply type extinction events Gibson in the search bar at the top.Each movement imagines a different animal or insect living in its habitat as it gradually deteriorates. One might think this would be sad, violent music, but each earthly creature is shown in its musical habitat where it happily does what it does best....bees buzzing around flowers, cuckoos gently calling in the forest, Walruses jumping not so gracefully onto sea ice, Jaguars quietly stalking their prey. The habitat changes are depicted by gradual use of unstable scales, and the sometimes hidden ancient tune of the Dies Irae, the Day of Wrath.The point I wish to make is how humans must be watchful of wildlife habitats because we are all in this limited world together. Where wild creatures go, so do we. It was best said by Jane Goodall: Only if we understand can we care. Only if we care will we help. Only if we help shall they be saved.Buzzy Delights (honey bees) – Bees are industrious and play a key role in propagating plants, while the queen stays in the hive in her pentagonal glory and sings a song in 5/4 time. Honey Bees have been having issues with some types of insecticides and diseases and whole areas of hives have died off. Humans would be in a bad way if they buzzed off and went extinct.You may watch a video on YouTube: https://youtu.be/j-zLUcxiMas
$15.25 ≈
14.00€
Extinction Events - Clarinet Quartet - Mvt 4 - Yaguarete Surprise
Extinction Events - Clarinet Quartet - Mvt 4 - Yaguarete Surprise
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Quatuor de Clarinettes: 4 clarinettes
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AVANCÉ
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Contemporain
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John Gibson
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Extinction Events - Clarinet Q
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JB Linear
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bass Clarinet - Level 5 - SKU: A0.581937 Composed by John Gibson. Contemporary. 17 pages. JB Linear #3459833. Publish...
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Woodwind Ensemble,Woodwind Quartet Bass Clarinet - Level 5 - SKU: A0.581937 Composed by John Gibson. Contemporary. 17 pages. JB Linear #3459833. Published by JB Linear (A0.581937). Extinction Events (4th movement - Yaguaretê* Surprise) by John Gibson was written as a submission to the International Clarinet Association's 2018 Composition Competition. Written for 3 Bb clarinets and 1 bass clarinet, it is a four movement work for very advanced players. This is the fourth movement only...the others may be purchased separately: Buzzy Delights, It Isn't Easy Being a Cuckoo, and Walrus Jump. The entire set of 4 movements may also be purchased. Simply type extinction events Gibson in the search bar at the top. *(Yaguartë = Argentine Jaguar)Each movement imagines a different animal or insect living in its habitat as it gradually deteriorates. One might think this would be sad, violent music, but each earthly creature is shown in its musical habitat where it happily does what it does best....bees buzzing around flowers, cuckoos gently calling in the forest, Walruses jumping not so gracefully onto sea ice, Jaguars quietly stalking their prey. The habitat changes are depicted by gradual use of unstable scales, and the sometimes hidden ancient tune of the Dies Irae, the Day of Wrath.The point I wish to make is how humans must be watchful of wildlife habitats because we are all in this limited world together. Where wild creatures go, so do we. It was best said by Jane Goodall: Only if we understand can we care. Only if we care will we help. Only if we help shall they be saved.Argentine Jaguars (Yaguareté) are experiencing shrinking habitats due to human population growth and cutting of forests. In this piece I imagined a Jaguar slowly stalking its prey, moving silently on velvet paws. She moves carefully but with barely hidden energy, pausing, then freezing, then suddenly pouncing. Surprise! Sadly, the Dies Irae music plays on. .
$15.00 ≈
13.77€
Extinction Events for Clarinet Choir
Extinction Events for Clarinet Choir
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Ensemble de Clarinettes
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AVANCÉ
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Contemporain
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John Gibson
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Extinction Events for Clarinet
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JB Linear
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 5 - SKU: A0.581938 Composed by John Gibson. Contemporary. 102 pages. JB Linear #3494757. Publish...
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 5 - SKU: A0.581938 Composed by John Gibson. Contemporary. 102 pages. JB Linear #3494757. Published by JB Linear (A0.581938). Extinction Events by John Gibson Written for clarinet choir, it is a four movement work lasting about 11 minutes and is for very advanced players. The movements are: Buzzy Delights (Honey Bees), It Isn't Easy Being a Cuckoo, Jaguar Surprise, and Walrus Jump.Each movement imagines a different animal or insect living in its habitat as it gradually deteriorates. One might think this would be sad, violent music, but each earthly creature is shown in its musical habitat where it happily does what it does best....bees buzzing around flowers, cuckoos gently calling in the forest, Walruses jumping not so gracefully onto sea ice, Jaguars quietly stalking their prey. The habitat changes are depicted by gradual use of unstable scales, and the sometimes hidden ancient tune of the Dies Irae, the Day of Wrath.The point I wish to make is how humans must be watchful of wildlife habitats because we are all in this limited world together. Where wild creatures go, so do we. It was best said by Jane Goodall: Only if we understand can we care. Only if we care will we help. Only if we help shall they be saved.The parts included are: Eb soprano clarinet, Bb clarinet 1-2-3, alto clarinet (with an alternate 4th Bb clarinet part), bass clarinet, and BBb Contra/EEb Contralto.
$23.50 ≈
21.58€
Extinction Events for Band Woodwind Section
Extinction Events for Band Woodwind Section
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Contemporain
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John Gibson
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Extinction Events for Band Woo
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JB Linear
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SheetMusicPlus
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bassoon,Flute,Oboe,Tenor Saxophone - Level 5 - SKU: A0.582104 Composed by John Gibson....
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bassoon,Flute,Oboe,Tenor Saxophone - Level 5 - SKU: A0.582104 Composed by John Gibson. Contemporary. 134 pages. JB Linear #5298005. Published by JB Linear (A0.582104). Extinction Events by John Gibson Written for the woodwind choir of a concert band, it is a three movement work lasting about 8 minutes and is for advanced players. The movements are: Buzzy Delights (Honey Bees), It Isn't Easy Being a Cuckoo, and Jaguar Surprise.Each movement imagines a different animal or insect living in its habitat as it gradually deteriorates. One might think this would be sad, violent music, but each earthly creature is shown in its musical habitat where it happily does what it does best....bees buzzing around flowers, cuckoos gently calling in the forest, Jaguars quietly stalking their prey. The habitat changes are depicted by gradual use of unstable scales, and the sometimes hidden ancient tune of the Dies Irae, the Day of Wrath.The point I wish to make is how humans must be watchful of wildlife habitats because we are all in this limited world together. Where wild creatures go, so do we. It was best said by Jane Goodall: Only if we understand can we care. Only if we care will we help. Only if we help shall they be saved.The parts included are: Flute 1-2, Oboe 1-2, Bb Clarinet 1-3, Bass Clarinet, Bassoon 1-2, Alto Sax 1-2, Tenor Sax, and Baritone Sax.
$41.25 ≈
37.88€
Diasporic Dances
Diasporic Dances
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Quintette à cordes: 2 violons, alto, violoncelle, basse
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AVANCÉ
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Patrick Prejean
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Diasporic Dances
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Patrick Prejean
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SheetMusicPlus
String Quintet Cello,Double Bass,Viola,Violin - Level 5 - SKU: A0.1317853 Composed by Patrick Prejean. 21st Century,Chamber,Classical. 215 pages. Patric...
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String Quintet Cello,Double Bass,Viola,Violin - Level 5 - SKU: A0.1317853 Composed by Patrick Prejean. 21st Century,Chamber,Classical. 215 pages. Patrick Prejean #906523. Published by Patrick Prejean (A0.1317853). These dances where written at the request of the executive director of CityMusic Cleveland. They are based and inspired by North and Sub-Saharan African Dances in addition to a reimagining of fairy tales. There are 8 movements making this the biggest project I've ever composed. This quintet may also be performed as a String Orchestra ensemble. I - There is a story about a man named Alexander Dynis (Deniz) who is believed to have ended up in Ruthenia (modern day Ukraine) as a PoW when the Ottomans invaded the Polish-Lithuanian Commonwealth. Not much is known about his early life but we do know is that eventually afterwards he was granted the position of Starosta (town mayor/landlord) of Kozieglowy (Poland) by the Bishop of Krakow. He is the only Black starosta that we know of to this day. His story is interesting and is the basis of this movement and was inspired by the soundtrack of a game called Hellish Quart. II - This movement is a dance of ritual which emphasizes the different pitch intonations of the human voices hence the dissonant harmonies. Imagine walking through the savannah and hearing these voices but you are unsure of their intentions. This dance is heavy and percussive. III - This movement is of a young woman who is kidnapped by the Vikings and dreams of escaping captivity. IV - There are 3 distinct motives for this movement which combine to create a battle - like scene, those being the 6 quarter note triplets, the rhythmic motive, and the driving 16th notes.  V - I wanted to create the sounding of the natural horns of the Ancient and Classical Eras and to combine them with a retelling of the Little Red Riding Hood. Her journey begins upon hearing these horns and prompted to ride out to begin her quest.VI/VII/VIII - These movements where edited from my Death Waltzes for the Living. There are hidden titles for number 6 and 7: Loss of Mind and Hospital. These waltzes are a reimagining of Cinderella's life but instead of her story playing out as we know it, she suffers a psychotic break and is transported into our world and rushed to the hospital. The final movement concludes the piece with a Dance of Death. I have had many close encounters with permanent oblivion and the result of this is what I call Hitchcock Horror harmonic language. These encounters supplimented with the dreams of the unconscious realm create an uneasy dance that ends almost as abruptly as they begin.
$100.00 ≈
91.83€
"Three Labe Sonnets" for mezzo-soprano and piano
"Three Labe Sonnets" for mezzo-soprano and piano
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Contemporain
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Jason A
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"Three Labe Sonnets"
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Call of the Wild Publishing
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SheetMusicPlus
Small Ensemble Piano,Vocal,Voice - Level 5 - SKU: A0.978194 Composed by Jason A. Heald. Contemporary. Score. 16 pages. Call of the Wild Publishing #6265...
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Small Ensemble Piano,Vocal,Voice - Level 5 - SKU: A0.978194 Composed by Jason A. Heald. Contemporary. Score. 16 pages. Call of the Wild Publishing #6265333. Published by Call of the Wild Publishing (A0.978194). THREE LABE SONNETS for mezzo-soprano and piano is a collection of settings by Louise Labé, (1520-1566), a female French Renaissance poet. Labé was fluent in Latin and Italian, and a trained musician. She wrote twenty-four sonnets. TRANSLATION Sonnet VIII - I Live, I Die I live, I die, I burn with fire, I drown. It matters very little what I feel; All life is now too real, now too surreal; Joy comes and endless boredom weighs me down, And suddenly I laugh and then I cry; With grief and bliss I’m weeping for the past; Good feelings go away and yet they last, And suddenly I bleed and then I sigh. That’s how it goes. Strange, ever changing love Has worn me out. I wish I were removed From such a star-crossed fate! I need a truce With Lady Luck. Again and yet again, Her wheel is spinning madly to produce This wanton, wild, intense, exquisite pain. Sonnet XVIII - O Kiss Me O kiss me, kiss me, re-kiss me, and kiss! Be reckless, impudent, hot-headed, bold! O woo me! Pursue me! Kiss me like this: And I’ll give back fifty as hot as red coals. There, is it hurting? Come, let’s soothe the pain. I’ll give you sixty others just like these. And so we’ll kiss again and then again, While we enjoy each other at our ease. I know there’s fire within your unshaped clay, And so, allow me, love, to share my happiness: O let’s make burning passion rule today. I’m fond of doing what I love to do, Yet cannot feel supreme delight unless I have my other wild encounters, too. Sonnet XIV - As Long As Tears As long as tears can well up in my eyes I’m saddened that our nights are marked by pain. And now my voice expresses once again A plaintive melody I’ve improvised. As long as I can pluck the lute, I try To sing about your charms in my refrain. As long as I can think, my fevered brain Is burning with an ardent zeal. I cry And cry a hundred thousand times for you. But when I feel my whirling thoughts grow still, And when both hand and voice won’t work their will, Because your treachery is piercing through My heart, I’ll know there’s just one final way. I’ll ask for Death to darken that bleak day.
$4.50 ≈
4.13€
Jesus Shall Reign Where'er the Sun
Jesus Shall Reign Where'er the Sun
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Piano seul
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AVANCÉ
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John Hatton
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Paul Thurmond
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Jesus Shall Reign Where'er the
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Paul Thurmond
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Th...
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Piano Solo - Level 5 - SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99 ≈
4.58€
To Rise Again
To Rise Again
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Trombone et Piano
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AVANCÉ
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Alex Schwarte
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To Rise Again
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Alex Schwarte
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SheetMusicPlus
Piano,Trombone - Level 5 - SKU: A0.1455537 By Alex Schwarte. By Alex Schwarte. 21st Century,Classical,Contemporary,New Age. Score and part. 26 pages. Al...
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Piano,Trombone - Level 5 - SKU: A0.1455537 By Alex Schwarte. By Alex Schwarte. 21st Century,Classical,Contemporary,New Age. Score and part. 26 pages. Alex Schwarte #1034623. Published by Alex Schwarte (A0.1455537). I have been working on To Rise Again for about a year since the passing of several close family members. As with any long-term struggle, some days are easier than others, and some days it is hard to do much of anything at all. Walking through hard days, this piece is about mental health, the struggles that you face, and on the most difficult days, what it takes to rise again. Despair: This movement opens with what I call the despair motif. This motif consists of seven notes and will return throughout the piece, reminding us of uncertainty and darkness. The middle of the movement includes a build-up leading to a complete panic attack, featuring cluster chords in the piano and extreme volumes and articulation in the trombone. Finally, a quasi-march leads us to the end, where we sink to the lowest and angriest point. Support: This tranquil and shimmering movement evokes the other side of grief and depression: the people around you. In the dark moments, these people can become pillars of aid and light. Even with support, there are moments of darkness and uncertainty, but support will always be there. Musically, this movement features numerous color tones and aims to create an emotionally understanding and steady atmosphere. The opening trombone line (the support motif) represents tender support and is used numerous times in the next movement. Overcome: The final movement opens with a haunting atmosphere created by plucked piano strings. The first normal piano entrance is the Rumbling motif: the feeling of the soul exerting its will to be free but not quite making it. Throughout the rest of the movement, the trombone and piano go back and forth, with the piano emphasizing support and the trombone wallowing in despair. Eventually, the trombone begins to come around and rise. Concluding with a triumphant feeling of release, the mind is lifted from despair, free and open to whatever life brings next. Mental health looks different for everyone, and I want to reflect that in this composition. For all future performances, the performers can make significant musical changes to better reflect their own challenges. This could be as small as a different tempo or as large as a completely different style and articulation. To Rise Again is very personal to me, and I want every performance of it to be just as personal.Playlist: https://www.youtube.com/playlist?list=PLDoVD8lbKulOjUbvdKcc9phxPNOgYLDuh.
$40.00 ≈
36.73€
Tyrant
Tyrant
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Jason V
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Tyrant
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Barabba Music
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SheetMusicPlus
Baritone Horn TC,Cello,Piccolo,Soprano voice,Viola,Violin - Level 5 - SKU: A0.1404089 Composed by Jason V. Barabba. 21st Century,Chamber,Classical,Conte...
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Baritone Horn TC,Cello,Piccolo,Soprano voice,Viola,Violin - Level 5 - SKU: A0.1404089 Composed by Jason V. Barabba. 21st Century,Chamber,Classical,Contemporary,Opera. 49 pages. Barabba Music #987269. Published by Barabba Music (A0.1404089). A Micro-opera by Jason V. BarabbaLibretto by Jason V. Barabba and Annie Jankowski after The Wolf and the Lamb by Aesop for Soprano, Baritone, Flute, Violin, Viola and CelloIt feels like our national political and social discourse has plummeted to new depths of dysfunction. No matter what your opinions are, you cannot fail to notice that we’ve lost something in our nation when our leaders cannot find a way to disagree with one another with civility. It is hard to feel optimistic, or even know what to do in the face of such petty ugliness that passes for political thought in this nation.For Tyrant I turned to the basic lessons found in Aesop’s fables, which are at heart lessons on being a good member of civil society…lessons that unfortunately I believe our nation needs to re-learn. Soon. The Wolf and the Lamb focuses on someone who consciously makes up lies to justify what he wants to do and feels alarmingly relevant today. Only lightly edited to turn the story into a dramatic scene, it is a very old story intended for the people of 2017.
$96.30 ≈
88.43€
The Be-Bop Range Book
The Be-Bop Range Book
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Trompette
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AVANCÉ
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Eric Bolvin
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Air
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The Be-Bop Range Book
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ERIC V BOLVIN
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SheetMusicPlus
Trumpet Solo - Level 5 - SKU: A0.829071 Composed by Eric Bolvin. Instructional,Jazz. Individual part. 64 pages. ERIC V BOLVIN #3579875. Published by ERI...
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Trumpet Solo - Level 5 - SKU: A0.829071 Composed by Eric Bolvin. Instructional,Jazz. Individual part. 64 pages. ERIC V BOLVIN #3579875. Published by ERIC V BOLVIN (A0.829071). The Be-Bop Range Book is a creative approach to developing range, technique and improvisational be-bop skills for trumpet.IntroductionTrumpet range and developing it is one of the most common and controversial subjects among trumpet players, teachers and authors. Without delving too far into the physical and scientific aspects of trumpet playing, allow me to paraphrase the great Yogi Berra;The upper register of the trumpet is the same as the middle and lower registers, just different.All trumpet playing is a coordination or balance of three things: air, tongue level and embouchure. It is through sensible, intelligent and consistent practice that we develop the skills necessary to play throughout the entire range of our instrument.Purpose Of This BookAlthough hitting the high note may be the quest for many trumpet players, a more useful and musical goal is developing a large playable range. This means being able to articulate and play musically and dynamically throughout the entire range of the instrument. This is accomplished through the use of Range Arcs, which are musical phrases that cover a large range. In addition to building our playable range, we are working on technique and adding to our jazz vocabulary.I originally developed the concept of Range Arcs in The Modern Jazz Trumpet Method. Many players have commented on how useful these studies are, so I decided to expand on it here. For more rudimentary range, flexibility and endurance study, seeTongue Level & Air.The Approach NoteI have found that how we approach the highest note of a musical phrase is critical to range development. This aspect of range development is presented here in a progressive, creative format.Exercises 1-5 use the Chromatic Approach. This means that the highest note of the arc is approached from a 1â„2 step below. The exercises continue, adding a 1â„2 step to the approach note every five exercises.Articulation & PhrasingAll exercises in this book are to be played in a swing style. However, if you are having trouble with an exercise, sometimes playing it straight may help. Jazz articulation should also be employed throughout. What does that mean exactly? Jazz trumpet articulation is as spontaneous and individual as an improvised solo. Honestly, if I have to think about it, I can’t do it. The best advice is to listen to the trumpet players quoted in this book and to as much jazz trumpet as you can. Transcribe and play solos while emulating their style and articulation.Immersing yourself in this will result in your own personal style of articulation. Jazz articulation on trumpet is also born out of necessity. Some slurs in a line may just not be possible so you must tongue. This will be revealed when you start some of the exercises that contain wider intervals.How To Use This BookEach exercise group consists of a Range Arc, Range Builder and Range Builder Extended. Each group should be practiced for at least one week before moving ahead to the next one.Range ArcsThe Range Arc is the original lick. Many of these have been borrowed from some of the great jazz trumpeters of all time; Freddie Hubbard, Clifford Brown, Lee Morgan, Chet Baker, Tom Harrell, Randy Brecker, Fats Navarro and Blue Mitchell.You should begin with the key that is marked with an asterisk * ; it is an easy key and range and will help you familiarize yourself with the lick. Practice slowly at first and then work for speed. Once you are familiar with the * lick, start at the beginning of the Range Arc. Work on each key until you get it smoothly. Repeat as needed and rest between each key. Take the D.C. and play 8va through the indicated key (see the box at the end of the Range Arc) that takes you to High C. Rest for 15 minutes.Range BuildersAfter resting, you are ready for the Range Builder. These are short.
$16.95 ≈
15.56€
Better Days
Better Days
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OneRepublic
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Kyle Pudenz
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Better Days
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ViolinVagabond Music
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SheetMusicPlus
Small Ensemble,Strings Bass Guitar,Cello,Drum Set,Viola,Violin - Level 5 - SKU: A0.845978 By OneRepublic. By Brent Kutzle, John Nathaniel, and Ryan Tedd...
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Small Ensemble,Strings Bass Guitar,Cello,Drum Set,Viola,Violin - Level 5 - SKU: A0.845978 By OneRepublic. By Brent Kutzle, John Nathaniel, and Ryan Tedder. Arranged by Kyle Pudenz. Contemporary,Pop,Rock. Score and parts. 56 pages. ViolinVagabond Music #5739325. Published by ViolinVagabond Music (A0.845978). Whether you are a tried and true OneRepublic fan looking to add to your ensemble's catalog, a struggling musician hoping for Better Days, or simply want to create a little social media buzz by playing that song that you saw in a commercial about a Jeep, or ESPN, or NBC... THIS is the chart you are looking for!Check out Dallas String Quartet performing this arrangement in their latest music video: https://youtu.be/BBEdsXRELywWhat you have here, ladies & gentlemen, is no half-baked attempt at a transcription that you might find illegally floating around the internet for a few bucks. This meticulously-arranged instrumental reimagining of OneRepublic's new smash is much, MUCH more. Your journey through the pop-string realm starts out with a silky, cinematic intro that will filter out the commotion of your futile existence, opening the curtains to reveal a plane of pure musical ecstasy. When the groove finally drops, and OH, does it DROP... you will not be able to stop yourself from foot-tapping, head-banging, or otherwise moving one or more body parts in a definitively rhythmic fashion. Hip rhythmic chopping grooves, fingerboard slaps, and a healthy dose of syncopation will take this sick beat to another level! And if that isn't enough to pique your interest, be on the lookout for some sexy reharminizations throughout the tune that will make you honestly wonder why those chords weren't in the song to begin with...Just when you thought this couldn't get any better: THERE IS A SOLO SECTION!! I've included some written solos, but if you prefer to improvise your own, that is allowed and encouraged. You can also vamp it if you need to kill a little time, or just want to show off for a few more bars.This version of the score includes optional RHYTHM SECTION PARTS for guitar, bass, & drum set in addition to the standard string quartet. To be clear, you do not have to perform this chart with bass and drums. I have gone to great pains to ensure that, with proper preparation, a string quartet performance will sound every bit as groovy as a full 7-piece band. So if you try to play this without a drummer and it doesn't go well, I don't want to hear about it. Go practice.Having a great ensemble may be the first step to successfully landing the big gigs, but having repertoire that gives your musicians the chance to shine will make you stand out from the rest. So don't settle for reading off of a piano score or hacking through questionably-obtained transcriptions when you can have the real deal. Fresh tunes, arranged by a real string player who has been in your shoes and knows how to wow the crowd!Thanks for visiting, and I hope this chart brings us all to some Better DaysPerformance time - 4:00 as written, longer if you vamp the solo, shorter if you cut the intro. Because I get it; we all need flexibility when wedding parties and/or emcee's are involved.Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond
$24.99 ≈
22.95€
Sea Songs
Sea Songs
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Steve Martland
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Sea Songs
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SSSAAATTTBBB) - difficult - SKU: S9.Q19671 For mixed choir. Composed by Steve Martland. This edition: choral score. Choral Music of ...
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Mixed choir (SSSAAATTTBBB) - difficult - SKU: S9.Q19671 For mixed choir. Composed by Steve Martland. This edition: choral score. Choral Music of Our Time. Downloadable, Choral score. Duration 23 minutes. Schott Music - Digital #Q19671. Published by Schott Music - Digital (S9.Q19671). English.Sea Songs, commissioned jointly by Ars Nova Copenhagen and Glasgow Concert Halls, is a kind of sequel to Martland's Street Songs (originally written for the Kings Singers and Evelyn Glennie). As with the earlier piece, Martland made use of to the library of the English Folk Song and Dance Society at Cecil Sharp House in north London. I wanted specifically to find texts that were not just the usual nautical heave-ho sort of thing, but instead explored the dangers and hardships still being experienced by sailors as recently as the early 19th century. I was also very happy to see in these texts the sense of camaraderie and mutual support that existed between the sailors. (Steve Martland) Dance to your Daddy sets the scene of a sailor's wife at home, dandling her baby son and singing to him about his daddy away fishing, and about the future. Both the tune and the words come from the Northumberland area around Newcastle. This song is very well known in the UK and gave the title to a famous television series When the boat comes in. Fire Down Below is about the effects of fire - a constant danger on board wooden ships. At the end of this song the words take on an extended meaning: Fire in our hearts for the friends that we love. The Dead Horse is about the initial month of work without pay in which all seamen had to take part. They referred to it as the dead horse - hence the expression to flog a dead horse when something is a waste of time. The seamen resented this unpaid time, and the text expresses their frustrations metaphorically by listing what they would do to the horse! The music's frantic gallop alludes to the horse's desperation. Although The Sea Martyrs presents itself as a ballad, this text has a more literary feel, and unlike the other songs it doesn't include a chorus refrain. It concerns the sailors' lack of pay, the consequences of asking for pay (being hanged!), and the poverty of their families at home. The poem portrays the sailors' deaths as an almost religious sacrifice to help future seamen. At the end of the work, the opening of Dance to your Daddy returns as a kind of descant, sung by an angel calling to the hanged men. © Paul Hillier, 2012.
$12.99 ≈
11.93€
3 Romances, Op. 94 for Oboe and Piano - Robert Schumann
3 Romances, Op. 94 for Oboe and Piano - Robert Schumann
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Hautbois, Piano (duo)
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AVANCÉ
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Robert Schumann
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Zellev
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3 Romances, Op. 94 for Oboe an
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Zellev Music
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SheetMusicPlus
Oboe,Piano - Level 5 - SKU: A0.1276462 Composed by Robert Schumann. Arranged by Zellev. 19th Century,Christmas,Classical,Romantic Period,Wedding. Score ...
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Oboe,Piano - Level 5 - SKU: A0.1276462 Composed by Robert Schumann. Arranged by Zellev. 19th Century,Christmas,Classical,Romantic Period,Wedding. Score and part. 22 pages. Zellev Music #868187. Published by Zellev Music (A0.1276462). The Three Romances for Oboe and Piano, Op. 94 (German: Drei Romanzen) is a composition by Robert Schumann, his only composition for oboe. It was composed in December 1849. The work consists of three short pieces in A-B-A form, and it was written during what was speculated to be one of Schumann's manic episodes.An average full performance lasts roughly 12 minutes.The Romances were written in December 1849, one of the most productive years of Schumann's entire career. Previously that year, Schumann had written two other works for wind instruments and piano: the Adagio and Allegro, op. 70, for French Horn and piano, and the Fantasy Pieces for Clarinet and Piano, op. 73. According to Schumann himself, the pieces were written on December 7, 11, and 12th in Dresden., Unlike many other oboes, works at the time, the pieces were not the result of a commission by a prominent soloist of the day. Schumann gave the pieces to his wife Clara Schumann, whom he once described as his own right hand, as a Christmas present, calling them his hundredth opusculum. Schumann's mental health was quickly deteriorating during the time of the pieces' writing; shortly afterward, he moved from Dresden to Düsseldorf, where he was admitted to and eventually died in an asylum.On November 2, 1850, the pieces were first performed privately as a piano and violin piece with Clara Schumann on piano and François Schubert on violin. The works were first performed several years after Schumann's death, in 1863; the performances took place on January 24 and February 14 in the Gewandhaus, featuring Emilius Lund on oboe and Carl Reinecke on piano.The piece was dedicated to Wilhelm Joseph von Wasielewski. The original edition was published by N. Simrock. The publication date is unknown, but it is estimated to have been anywhere from December 1850 to February 1851. Nikolaus Simrock wrote a letter to Schumann on November 19, 1850, asking whether or not Schumann would agree if we were to print on the title page: 'for oboe and pianoforte' and on this with a violin 'for violin and pianoforte' and on the third 'for clarinet and pianoforte,' since it is not looked upon with favor when several instruments appear on the title page. However, Schumann denied the request, replying, If I had originally written the work for violin or clarinet, it would have become a completely different piece. I regret not being able to comply with your wishes, but I can do no other. Two copies of the original printing exist Schumann's copy and Wasielewski's dedication copy (both either in museums or private collections).Disobeying Schumann's wishes, Simrock published alternate violin and oboe parts in the first edition. In her compilation of Robert's works post-mortem, Clara only included the violin transcription, possibly due to her only playing the piece with violinists. There have been several recordings of the music, including a recent one along with other Schumann oboe works by Oboe Classics. The romances are now a standard part of the oboe repertoire and often considered the best piece of romantic repertoire for the oboe.
$15.00 ≈
13.77€
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We Do What We Can
