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Vous avez sélectionné:
A Canon of Thanks
Partitions à imprimer
25 partitions trouvées
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1
A Canon of Thanks
A Canon of Thanks
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Chorale SATB
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Hal H
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A Canon of Thanks
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Hope Publishing - Digital
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SheetMusicPlus
Choral SATB choir - SKU: H1.HH3943DP Composed by Hal H. Hopson. Piano Accompaniment. Classics, Hymntune, Thanksgiving, Thanksgiving, General Worship. Oc...
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Choral SATB choir - SKU: H1.HH3943DP Composed by Hal H. Hopson. Piano Accompaniment. Classics, Hymntune, Thanksgiving, Thanksgiving, General Worship. Octavo. 8 pages. Hope Publishing - Digital #HH3943DP. Published by Hope Publishing - Digital (H1.HH3943DP). Revelation 7:9 - Revelation 7:10 - Revelation 7:11 - Revelation 7:12 - Revelation 7:13 - Revelation 7:14 - Revelation 7:15 - Revelation 7:16 - Revelation 7:17 - 1 Thessalonians 4:13 - 1 Thessalonians 4:14 - 1 Thessalonians 4:15 - 1 T.Classic anthem The historic Come, Ye Thankful People, Come (ST. GEORGE'S WINDSOR) is the basis for this vibrant canon for Thanksgiving. Available in both SATB and Two-Part Mixed (SA/TB) versions.
$2.95
A Canon of Thanks
A Canon of Thanks
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Chorale 2 parties
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Hal H
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A Canon of Thanks
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Hope Publishing - Digital
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SheetMusicPlus
Choral 2-part mixed choir (SA/TB) - SKU: H1.C5228DP Composed by Hal H. Hopson. Piano Accompaniment. Classics, Hymntune, Thanksgiving, General Worship. O...
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Choral 2-part mixed choir (SA/TB) - SKU: H1.C5228DP Composed by Hal H. Hopson. Piano Accompaniment. Classics, Hymntune, Thanksgiving, General Worship. Octavo. 8 pages. Hope Publishing - Digital #C5228DP. Published by Hope Publishing - Digital (H1.C5228DP). Revelation 7:9 - Revelation 7:10 - Revelation 7:11 - Revelation 7:12 - Revelation 7:13 - Revelation 7:14 - Revelation 7:15 - Revelation 7:16 - Revelation 7:17 - 1 Thessalonians 4:13 - 1 Thessalonians 4:14 - 1 Thessalonians 4:15 - 1 T.Classic anthem The historic Come, Ye Thankful People, Come (ST. GEORGE'S WINDSOR) is the basis for this vibrant canon for Thanksgiving. Available in both SATB and Two-Part Mixed (SA/TB) versions.
$2.95
Canon of Thanks
Canon of Thanks
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Chorale 3 parties
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FACILE
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Musique Sacrée
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Donald Moore
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Canon of Thanks
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Jubilate Music Group - Digital
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SheetMusicPlus
Choir Sacred (SAB choir/3-Part choir Mixed; 2-Part choir) - Grade 2 - SKU: JX.00-18904 Arranged by Donald Moore. Choral (Sacred); Choral Octavo; Perform...
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Choir Sacred (SAB choir/3-Part choir Mixed; 2-Part choir) - Grade 2 - SKU: JX.00-18904 Arranged by Donald Moore. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Archive Edition: Alfred Church Choral Series. Fall; Sacred; Thanksgiving. Choral Octavo. 8 pages. Jubilate Music Group - Digital #00-18904. Published by Jubilate Music Group - Digital (JX.00-18904). English. Psalm 107:1, Psalm 107:33-43, Joel 2:23-30, Luke 16:19-31, Timothy 6:16-19.This simple, dance-like arrangement of a popular traditional folksong features both unison and canonic sections. Skillfully adapted by Donald Moore, it is great for choirs of all ages and very effectively reinforces independent part singing. A wonderful September start-up piece, it is also apprpriate for harvest or thaksgiving worship. Opt. flute included in the score.
$2.25
A Round of Thanks
A Round of Thanks
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Chorale 2 parties
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FACILE
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Musique Sacrée
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Donald Moore
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Choral Octavo
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A Round of Thanks
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Jubilate Music Group - Digital
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SheetMusicPlus
Choir Sacred (2-Part choir) - Grade 2 - SKU: JX.00-21027 Incorporating O Waly Waly and Come, Ye Thankful People, Come. Arranged by Donald Moore. ...
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Choir Sacred (2-Part choir) - Grade 2 - SKU: JX.00-21027 Incorporating O Waly Waly and Come, Ye Thankful People, Come. Arranged by Donald Moore. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Church Choral Series. Christ the King; Fall; Sacred; Thanksgiving. Choral Octavo. 8 pages. Jubilate Music Group - Digital #00-21027. Published by Jubilate Music Group - Digital (JX.00-21027). English. Psalm 95, Matthew 9:35-38, Mark 4:26-32, Philippians 4:4-7, Revelation 14:14-16.The traditional English folk tune commonly known as The Water Is Wide is delightfully partnered with the harvest text, Come, Ye Thankful People, Come, in this popular arrangement, now available in three voicings for singers of all ages. Opening with a unison verse, it flows into a simple canon and closes with a newly composed section giving thanks to God for His great goodness. Perfect for any time of year, especially Thanksgiving, it is easily taught and a delight to sing!
$2.25
Give Thanks Unto the Lord
Give Thanks Unto the Lord
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Chorale SATB
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FACILE
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Musique Sacrée
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J
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Give Thanks Unto the Lord
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Monarch Music
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SheetMusicPlus
SATB choir with optional Handbell 3 octaves (With Optional Handbell 3 octaves) - Moderately easy - SKU: LX.10-2403M Composed by J. Paul Williams and Jos...
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SATB choir with optional Handbell 3 octaves (With Optional Handbell 3 octaves) - Moderately easy - SKU: LX.10-2403M Composed by J. Paul Williams and Joseph M. Martin. Sacred Anthem, General, Thanksgiving. Octavo. 8 pages. Monarch Music #e10/2403M. Published by Monarch Music (LX.10-2403M). UPC: 000308052503.Beginning with a simple unison melody, this anthem steps quickly into a canon, making this mainly three-part setting suitable for any age level choir. Contrasting meter and the optional handbells add an extra degree of festivity.
$2.40
Love Has Come! (key of E)
Love Has Come! (key of E)
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Musique Sacrée
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Noël
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17th c
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Love Has Come!
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Leatherman Music Services
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SheetMusicPlus
Small Ensemble - Level 3 - SKU: A0.829380 Composed by 17th c., Words: Ken Bible / Music: French Carol Melody, and attr. to Saboly. Arranged by Ken Bible...
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Small Ensemble - Level 3 - SKU: A0.829380 Composed by 17th c., Words: Ken Bible / Music: French Carol Melody, and attr. to Saboly. Arranged by Ken Bible and Lyndell Leatherman. Christian,Christmas,Sacred. Score and parts. 20 pages. Leatherman Music Services #5955335. Published by Leatherman Music Services (A0.829380). The charming tune usually associated with Bring a Torch, Isabella is the setting for this new Christmas hymn text, resulting in an attractive addition to the Advent/Christmas canon. Because the tune is known to most people, it will be easy to introduce it into worship services this December. As an additional service Ken Bible has provided a script which can be used to provide context and lead in to the hymn.The companion orchestration allows for the participation of supplemental instruments. Even if you only have one–or a few–of the instruments available, they will enhance the presentation of the hymn. A separate edition in the key of F is available on Sheet Music Plus; it can be used instead of–or in addition to–this edition (think modulation into the last stanza).Note: the purchase price allows you to duplicate as many copies as needed for your singers and instrumentalists. Please include it in your CCLI tally if it's your turn to report; the CCLI number is included at the bottom of the hymn arrangement.It has been my lifelong endeavor to provide fresh, yet accessible music for the churches and schools with whom I have been associated. Because of the slowdown caused by Covid-19, I finally have the time to start posting 45 years' worth of custom arrangements on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 > or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear more published works. Thanks for your interest! God bless!Lyndell Leatherman, ASCAP
$14.99
Love Has Come! (key of F)
Love Has Come! (key of F)
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Musique Sacrée
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Noël
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17th c
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Love Has Come!
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Leatherman Music Services
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SheetMusicPlus
Small Ensemble - Level 3 - SKU: A0.829382 Composed by 17th c., Words: Ken Bible / Music: French Carol Melody, and attr. to Saboly. Arranged by Ken Bible...
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Small Ensemble - Level 3 - SKU: A0.829382 Composed by 17th c., Words: Ken Bible / Music: French Carol Melody, and attr. to Saboly. Arranged by Ken Bible and Lyndell Leatherman. Christian,Christmas,Sacred. Score and parts. 20 pages. Leatherman Music Services #5955337. Published by Leatherman Music Services (A0.829382). The charming tune usually associated with Bring a Torch, Isabella is the setting for this new Christmas hymn text, resulting in an attractive addition to the Advent/Christmas canon. Because the tune is known to most people, it will be easy to introduce it into worship services this December. As an additional service Ken Bible has provided a script which can be used to provide context and lead in to the hymn.The companion orchestration allows for the participation of supplemental instruments. Even if you only have one–or a few–of the instruments available, they will enhance the presentation of the hymn. A separate edition in the key of E is available on Sheet Music Plus; it can be used instead of–or in addition to–this edition (think modulation into the last stanza).Note: the purchase price allows you to duplicate as many copies as needed for your singers and instrumentalists. If used for congregational singing, please include it in your CCLI tally if it's your turn to report; the CCLI number is included at the bottom of the hymn arrangement.It has been my lifelong endeavor to provide fresh, yet accessible music for the churches and schools with whom I have been associated. Because of the slowdown caused by Covid-19, I finally have the time to start posting 45 years' worth of custom arrangements on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 > or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear more published works. Thanks for your interest! God bless!Lyndell Leatherman, ASCAP
$19.99
Thanks Canon
Thanks Canon
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Chorale Unison
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Musique Sacrée
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Donald Moore
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Thanks Canon
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Jubilate Music Group - Digital
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SheetMusicPlus
Choir Sacred (2-Part choir; Unison choir) - Grade 1 - SKU: JX.00-23646 Based upon a Traditional German Canon. Arranged by Donald Moore. Choral (S...
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Choir Sacred (2-Part choir; Unison choir) - Grade 1 - SKU: JX.00-23646 Based upon a Traditional German Canon. Arranged by Donald Moore. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Archive Edition: Alfred Church Choral Series. All Saints Day; Ascension; Children; Fall; Pentecost; Sacred; Thanksgiving. Choral Octavo. 8 pages. Jubilate Music Group - Digital #00-23646. Published by Jubilate Music Group - Digital (JX.00-23646). English. Psalms 100, Psalms 104, Ephesians 1:15-23.Donald Moore is a master at arranging inspiring, easily prepared canons for worship. This traditional German canon is popularly known as Music Alone Shall Live. Don has added a marvelous new text, PLUS a new B section that quite naturally flows from the original canon! Flexible and easily prepared, it can be performed by treble or mixed voices of all ages, with opt. flute or C-instrument (included). Great for school concerts or worship throughout the year, especially All Saints', Ascension, Harvest, Pentecost, Thanksgiving.
$2.25
Give Thanks
Give Thanks
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Contemporain
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Henry Smith
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Benson Kwan
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Give Thanks
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humilis
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SheetMusicPlus
Cello,Flute,Piano,Violin - Level 3 - SKU: A0.857389 Composed by Henry Smith. Arranged by Benson Kwan. Contemporary. 3 pages. Humilis #3692457. Published...
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Cello,Flute,Piano,Violin - Level 3 - SKU: A0.857389 Composed by Henry Smith. Arranged by Benson Kwan. Contemporary. 3 pages. Humilis #3692457. Published by humilis (A0.857389). With elements from Pachelbel's Canon in D woven in the piece, this arrangement of Give Thanks acts as a great instrumental for wedding/church processional. Otherwise, playing it as chamber music is fun itself!
$12.99
Stub diving canon
Stub diving canon
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Gloria MHL
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Stub diving canon
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Meng-Hsuan Gloria Lin
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SheetMusicPlus
Tuba - Level 4 - SKU: A0.1153755 Composed by Gloria MHL. A Cappella,Chamber,Instructional,New Age,Spiritual. 5 pages. Meng-Hsuan Gloria Lin #754015. Pub...
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Tuba - Level 4 - SKU: A0.1153755 Composed by Gloria MHL. A Cappella,Chamber,Instructional,New Age,Spiritual. 5 pages. Meng-Hsuan Gloria Lin #754015. Published by Meng-Hsuan Gloria Lin (A0.1153755). This song is describing the feeling, the bubbles and the breathing sounds while scuba diving! It will need 1 diver and 3 tubas for this song. Have fun! Diver on the cover is me when learning how to scuba divng at the green island of Taiwan! Thanks my diving coach for taking this photo.
$8.00
Roth Rainer 1979 Canonic Fugue for Woodwind Quintet rev 2007
Roth Rainer 1979 Canonic Fugue for Woodwind Quintet rev 2007
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE
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Rainer's Rainbow
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R G Roth
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Roth Rainer 1979 Canonic Fugue
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Rainer's Rainbow
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - SKU: A0.902124 By Rainer's Rainbow. By Rainer Grant Roth b.1961. Arrange...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - SKU: A0.902124 By Rainer's Rainbow. By Rainer Grant Roth b.1961. Arranged by R G Roth. 20th Century,Easter,Multicultural,Romantic Period,World. 20 pages. Rainer's Rainbow #6400325. Published by Rainer's Rainbow (A0.902124). This original piece of music was composed by Rainer Grant Roth in 1979. It was originally written for a Synthesizer that was installed at the University of Calgary in Alberta Canada. Thanks to Derek V. Stoll at the time who helped program the synthesizer for its first performance.
$9.99
Kanons
Kanons
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Paul Hindemith
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Kanons
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Schott Music - Digital
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SheetMusicPlus
Choir a cappella - easy to advanced - SKU: S9.Q7354 Volume 1 for choir a cappella. Composed by Paul Hindemith. This edition: score. Downloadable,...
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Choir a cappella - easy to advanced - SKU: S9.Q7354 Volume 1 for choir a cappella. Composed by Paul Hindemith. This edition: score. Downloadable, score. Op. 1. Schott Music - Digital #Q7354. Published by Schott Music - Digital (S9.Q7354). German • English.These canons now published for the first time document Hindemith's fondness of composing little parodistic works with a wink on certain occasions. More than 30 artistic postcard-sized works were written by the composer. In strict counterpoint, he used them to convey season's greetings, congratulations on birthdays and anniversaries, and thanks to friends, colleagues and cultural institutions. Some of these witty and entertaining pieces have been released on recordings several times, but they have not been available in printed editions yet. Our first edition now enables every choir and every small singing group to find a canon of the appropriate level of difficulty and perform it on many occasions with great success with the audience.
$27.99
The William Bay Collection - Sacred Guitar Solo Anthology #2
The William Bay Collection - Sacred Guitar Solo Anthology #2
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Guitare
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INTERMÉDIAIRE
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Musique Sacrée
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The William Bay Collection - S
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Intermediate - SKU: M0.WBM75MEB Folk. Ebook and online audio. 141 pages. Mel Bay Publications - Digital Sheet Music #WBM75MEB. Published by Mel...
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Guitar - Intermediate - SKU: M0.WBM75MEB Folk. Ebook and online audio. 141 pages. Mel Bay Publications - Digital Sheet Music #WBM75MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.WBM75MEB). ISBN 9781513478005. 8.75X11.75 inches.This is a collection of 86 guitar solos in notation only from William Bay’s books, Solo Guitar in Worship, Communion, Psalms, Timeless Gospel Melodies and Spirituals. The solos work well as preludes, offertories, communion hymns, recessionals or they can be played for enjoyment. All 86 solos have been recorded and are available as online downloads with this book.
Song List
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Adoro Devote
All My Trials
All the Way My Savior Leads Me Lowry CrosbyINeed Thee Every Hour Lowry Hawks
Balm in Gilead
Benediction
Bread of the World Eucharistic Hymn
Canticle #1
Canticle #2
Close to Thee Vail Crosby Every Day and Every Hour Doane Crosby
Come to the Feast
Compline
Consecration
Deep River
Evening Prayer
Gloria
God Unseen Yet Ever Near St Flavian
Have Thine Own Way, Lord Adelaide
He Hideth My Soul Kirkpatrick Crosby
Here, O My Lord, I See Thee Face to Face Penitentia
Higher Ground Gabriel Oatman
Hold to God?s Unchanging Hand Eiland
Holy Is The Lord
I Love to Tell the Story Fischer Hankey
At the Cross Hudson Watts
I Will Arise and Go to Jesus Arise
I Will Praise Him Harris More Love to Thee Doane Prentiss
Jesu, Joy of Man?s Desiring
Jesus Paid It All Grape HallI Am Coming, Lord Hartsough
Jesus Spreads His Banner O?er Us Autumn
Just As I Am Woodworth
Kyrie Eleison
Lamb Of God
Lenten Meditation
Let All Mortal Flesh Keep Silence Picardy
Let Us Break Bread Together
Light Of The World
Litany
Lonesome Valley
Look Down That Lonesome Road
Lord, I?m Coming Home Kirkpatrick Draw Me Nearer Kirkpatrick Crosby
Lord, Speak to Me Canonbury
Meditation on Psalm
My Faith Looks Up to Thee Olivet
My Lord, My God
My Shepherd Will Supply My Need
Resignation
Nearer, My God, to Thee Bethany
Never Alone Anon
Night Prayer
Nobody Knows The Trouble I?ve Seen
O Esca Viatorum
Pass Me Not Doane Crosby
Only Trust Him Stockton
Peace
Praxis Pietatis Melica
Prayer
Prayer of Simeon
Psalm 102:1 Hear My Prayer, O Lord
Psalm 118:24 This Is the Day That the Lord Hath Made
Psalm 119:28 My Soul Is Heavy with Sorrow
Psalm 126:6 They That Sow in Tears
Psalm 128:1 Blessed Are They That Fear the Lord
Psalm 139:7 Where Shall I Go From Thy Spirit
Psalm 142:3 When My Spirit Grows Faint Within Me
Psalm 144:3 Lord, What Is Man
Psalm 16:1 Keep Me Safe, O God
Psalm 19:1 The Heavens Declare the Glory of God
Psalm 34:18 The Lord Is Close to the Broken Hearted
Psalm 65:2 Thou That Hearest Prayer
Psalm 88:13 Unto Thee Have I Cried, O Lord
Rendez a Dieu
Sanctus
Shall We Gather at the River Lowry
Softly And Tenderly
Sometimes I Feel Like a Motherless Child
St Gregory Chorale
Steal Away
Sweet By and By Webster Bennett Leaning on the Everlasting Arms Showalter Hoffman
Sweet Hour of Prayer Showalter Hoffman Is Your All on the Altar Hoffman
Swing Low, Sweet Chariot
The Lord?s Supper Way
To God Be the Glory Doane Crosby
Turn Your Eyes Upon Jesus He Is Lord
Wade In The Water
Wayfaring Stranger
We Give Thee Thanks
Were You There
What a Friend We Have in Jesus Converse
When I Lay My Burdens Down
$24.99
String Quartet #2 - Aqua Vitae
String Quartet #2 - Aqua Vitae
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Greg Woodward
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String Quartet #2 - Aqua Vitae
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Greg Woodward
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1458781 Composed by Greg Woodward. 21st Century,Chamber,Classical. 35 pages. Greg W...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1458781 Composed by Greg Woodward. 21st Century,Chamber,Classical. 35 pages. Greg Woodward #1037716. Published by Greg Woodward (A0.1458781). My second string quartet Aqua Vitae is a portrait of the natural water systems that bring clean water from the great mountain that shadows Hobart, Tasmania, through various rivulets back to the river, where it can be purified by evaporation and return to the top of the mountain to begin the cycle again.The opening section uses a blend of folk and old liturgical styles to suggest the purity of the source of the rivulet at the top of the mountain. This then gives way to a section illustrating the growing streams as a magnet for local life – using fragments of bird calls and pizzicato water “plops”, and incorporating a canon of a falling figure alternating and superimposing triplet and semiquaver rhythms representing the turbulence of waterfalls. A sharp turn into the controlled water flow through the city finds urban noises (again using the grace note “flicks” from the birds earlier but in more man-made context) and the eerie sounds of the underground pipes that divert the flow, before the water tumbles into the river and is once again drawn into the sky to be spirited away to the top of the mountain.Thanks to Anita, Emily and Nara for their recording of the piece linked below.Visit my YouTube page for more performances, arrangements and compositions.
$40.00
Harvest Grace
Harvest Grace
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Glenn Pickett
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Harvest Grace
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Fred Bock Music Company
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SheetMusicPlus
Choral (Score & Parts) SKU: HL.8753130 Composed by Glenn Pickett. Full Score and Parts. Fred Bock Publications. Fred Bock Music Company #BG2558B. Publish...
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Choral (Score & Parts) SKU: HL.8753130 Composed by Glenn Pickett. Full Score and Parts. Fred Bock Publications. Fred Bock Music Company #BG2558B. Published by Fred Bock Music Company (HL.8753130). UPC: 884088565282. 5.5x5 inches. Bill Conner/Glenn Pickett.Flowing with dignity and familiarity, this new, original song of thanks and praise is reminiscent of an old folk song set to new harmonies. The melody supports a poem by Bill Conner which describes the bounty of God's blessings. The easy setting moves into a simple canon that nicely enhances any service of thanksgiving.
$25.00
Harvest Grace
Harvest Grace
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Glenn Pickett
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Harvest Grace
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Fred Bock Music Company
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SheetMusicPlus
Choral (SATB Choir) SKU: HL.8753129 Composed by Glenn Pickett. Fred Bock Publications. General Worship. Octavo. 10 pages. Fred Bock Music Company #BG2558...
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Choral (SATB Choir) SKU: HL.8753129 Composed by Glenn Pickett. Fred Bock Publications. General Worship. Octavo. 10 pages. Fred Bock Music Company #BG2558. Published by Fred Bock Music Company (HL.8753129). UPC: 884088565275. 6.75x10.5 inches. Bill Conner/Glenn Pickett.Flowing with dignity and familiarity, this new, original song of thanks and praise is reminiscent of an old folk song set to new harmonies. The melody supports a poem by Bill Conner which describes the bounty of God's blessings. The easy setting moves into a simple canon that nicely enhances any service of thanksgiving.
$2.25
Los ñoquis del veintinueve
Los ñoquis del veintinueve
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Juan MarÃa Solare
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Los ñoquis del veintinu
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Juan Maria Solare
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SheetMusicPlus
Small Ensemble - Level 2 - SKU: A0.596601 Composed by Juan MarÃa Solare. 20th Century,Contemporary,Instructional. Score and parts. 7 pages. Juan Mari...
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Small Ensemble - Level 2 - SKU: A0.596601 Composed by Juan MarÃa Solare. 20th Century,Contemporary,Instructional. Score and parts. 7 pages. Juan Maria Solare #6057663. Published by Juan Maria Solare (A0.596601). Los ñoquis del veintinueve – The Gnocchi of the Twenty-Ninth – by Juan MarÃa Solare Audio: https://soundcloud.com/mihovilcevic/juan-maria-solare-los-noquis/s-bOICUjXTDyS Comments The order of these 29 numbers is rigorously random, as is the election of the six sizes of the fonts (12, 16, 20, 24, 28 and 32 picas). In order to determinate both dimensions I used the program I-Ching by Andrew Culver (assistant to John Cage in the '80 and '90), a program that is distributed as shareware in internet (thanks). The colour version follows the following criterion: - (a) prime numbers (see green) - (b) multiples of 3 (red) - (c) all other numbers (blue) ...if it ends up being good music then what matter the procedure involved? (David Cope, New Music Composition, p. 117) About the expression los ñoquis del 29: The Italian word gnocchi (gnocchi is plural of gnocco, which meaning is lump) is used in Spanish often as ñoqui or ñoquis. In the RÃo de la Plata (Argentina and Uruguay) are traditionally eaten on the 29th of each month, the day before payday, when people has less money. This tradition is called los ñoquis del 29 - the gnocchi of the twenty-ninth. There are naturally other versions. The most picturesque comes from a legend of the VIIIth century (or even IIIrd century). A young physician called Pantaleon (Panteleimon) lived in Nicosia (Cyprus), who after converting to Christianity, journeyed through the North of Italy. There he practiced miraculous healings due to which he was canonized. In a certain occasion, he asked some Venetian villagers for bread, and they invited him to share their poor table. Grateful, he announced them a year of excellent fishing and harvest. The prophecy was fulfilled. Saint Pantaleon was consecrated –along with Saint Mark– patron of Venice. That episode occurred on a 29th, for this reason that day is recalled with a simple food represented by gnocchi. The accompanying ritual of putting money below the dish represents the yearning of new gift. Outside the culinary realm, certain Argentine and Uruguayan functionaries are dismissively called ñoquis, because they only go to work at the end of the month, to justify their salary or simply to cash in for a not fulfilled work. This meaning was spread since the 1970's. Premiere: Luis Mihovilcevic, Saturday 25 October 2008, Centro Cultural Islas Malvinas, La Plata (Argentina). * JMS * DonSolare@gmail.com *https://soundcloud.com/mihovilcevic/juan-maria-solare-los-noquis/s-bOICUjXTDyS
$2.25
Charleston Times part 1
Charleston Times part 1
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Hanley Macdonald, Mack /Johnso
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Des McNutty
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Charleston Times part 1
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Des Press
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.1195784 Composed by Hanley Macdonald, Mack /Johnson, Donaldson/Kahn. Arranged by Des McNutty. Broadway...
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String Quartet String Quartet - Level 4 - SKU: A0.1195784 Composed by Hanley Macdonald, Mack /Johnson, Donaldson/Kahn. Arranged by Des McNutty. Broadway,Classical,Jazz,Musical/Show,Standards,Wedding. Score and parts. 46 pages. Des Press #794950. Published by Des Press (A0.1195784). Original arrangements for String Quartet (Back Home Again in) Indiana (Hanley/MacDonald) The Charleston (Mack/Johnson) I Wonder Where My Baby Is Tonight (Donaldson/Kahn) Arranged by Des McNutty Charleston Times was first punished by Chugnut Press in 2000 and distributed by SJ Music, following the long-winded and arduous challenges of obtaining licences from various copyright-owners by snail-post. Arrangeme has simplified this process considerably! Thanks! The notes are unchanged; only the layout has been revised. This much-demanded re-issue marks 100 years of that iconic dance, The Charleston, from the Broadway show Runnin' Wild (1923), which entered the public domain in 2019. Indiana and I Wonder Where My Baby Is Tonight are staples of the 1920's canon. These original arrangements are not based on previously-existing versions, although Indiana is mashed up with interpolations of a well-known work from the late 18th-century.... The level is on the easier side of “advancedâ€; quickly rehearsed by professional quartets and an accessible challenge for experienced students.
$12.99
Celebrated Wedding Classics for solo viola
Celebrated Wedding Classics for solo viola
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Alto seul
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INTERMÉDIAIRE/AVANCÉ
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Bach, Clarke, Handel, Pachelbe
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Susie Winkworth winkmusic
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Celebrated Wedding Classics fo
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winkmusic.co.uk
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SheetMusicPlus
Viola Solo - Level 4 - SKU: A0.1473317 Composed by Bach, Clarke, Handel, Pachelbel, Mozart, Schumann, Franck. Arranged by Susie Winkworth winkmusic.co.u...
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Viola Solo - Level 4 - SKU: A0.1473317 Composed by Bach, Clarke, Handel, Pachelbel, Mozart, Schumann, Franck. Arranged by Susie Winkworth winkmusic.co.uk. Baroque,Classical,Romantic Period,Wedding. Individual part. 14 pages. Winkmusic.co.uk #1051128. Published by winkmusic.co.uk (A0.1473317). Celebrated wedding classics, arranged for solo viola, to be satisfying to play and to listen to. Need to sound like a whole choir by yourself? Just want to play Pachelbel on your own?? Enjoy these timeless classics, perfect for weddings, events and performances.Contains: Handel - La RéjouissanceFranck - Panis AngelicusPachelbel - CanonMozart - Ave VerumBach - AirSchumann - TräumereiClarke - Prince of Denmark's March(Audio demo from sister title for solo cello)More in the same series: Traditional Christmas Carols for solo viola Praise for Traditional Christmas Carols for solo strings: Finding your music was like stumbling upon my own pot o' gold!You have just saved me! Thanks for making such FUN arrangements to play of these classic tunes.Winkmusic.co.uk produces the highest quality arrangements that actually sound like the original track! Tried and tested at 5* venues and concert halls, they are performed all over the world. Previous commissions have appeared on Sunday Times Top 100 Albums and been played by Classic FM chart-toppers.
$25.00
Celebrated Wedding Classics for solo violin
Celebrated Wedding Classics for solo violin
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Violon
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INTERMÉDIAIRE/AVANCÉ
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Bach, Clarke, Handel, Pachelbe
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Susie Winkworth winkmusic
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Celebrated Wedding Classics fo
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winkmusic.co.uk
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SheetMusicPlus
Violin Solo - Level 4 - SKU: A0.1473319 Composed by Bach, Clarke, Handel, Pachelbel, Mozart, Franck, Schumann. Arranged by Susie Winkworth winkmusic.co....
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Violin Solo - Level 4 - SKU: A0.1473319 Composed by Bach, Clarke, Handel, Pachelbel, Mozart, Franck, Schumann. Arranged by Susie Winkworth winkmusic.co.uk. Baroque,Classical,Romantic Period,Wedding. 14 pages. Winkmusic.co.uk #1051131. Published by winkmusic.co.uk (A0.1473319). Celebrated wedding classics, arranged for solo violin, to be satisfying to play and to listen to. Need to sound like a whole choir by yourself? Just want to play Pachelbel on your own?? Enjoy these timeless classics, perfect for weddings, events and performances.Contains: Handel - La RéjouissanceFranck - Panis AngelicusPachelbel - CanonMozart - Ave VerumBach - AirSchumann - TräumereiClarke - Prince of Denmark's March(Audio demo from sister title for solo cello)More in the same series: Traditional Christmas Carols for solo violin. Praise for Traditional Christmas Carols for solo strings: Finding your music was like stumbling upon my own pot o' gold!You have just saved me! Thanks for making such FUN arrangements to play of these classic tunes.Winkmusic.co.uk produces the highest quality arrangements that actually sound like the original track! Tried and tested at 5* venues and concert halls, they are performed all over the world. Previous commissions have appeared on Sunday Times Top 100 Albums and been played by Classic FM chart-toppers.
$25.00
Celebrated Wedding Classics for solo cello
Celebrated Wedding Classics for solo cello
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Violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Bach, Handel, Mozart, Pachelbe
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Susie Winkworth winkmusic
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Celebrated Wedding Classics fo
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winkmusic.co.uk
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SheetMusicPlus
Cello Solo - Level 4 - SKU: A0.1473313 Composed by Bach, Handel, Mozart, Pachelbel, Clarke, Franck, Schumann. Arranged by Susie Winkworth winkmusic.co.u...
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Cello Solo - Level 4 - SKU: A0.1473313 Composed by Bach, Handel, Mozart, Pachelbel, Clarke, Franck, Schumann. Arranged by Susie Winkworth winkmusic.co.uk. Baroque,Classical,Romantic Period,Wedding. Individual part. 14 pages. Winkmusic.co.uk #1051122. Published by winkmusic.co.uk (A0.1473313). Celebrated wedding classics, arranged for solo cello, to be satisfying to play and to listen to. Need to sound like a whole choir by yourself? Just want to play Pachelbel on your own?? Enjoy these timeless classics, perfect for weddings, events and performances.Contains: Handel - La RéjouissanceFranck - Panis AngelicusPachelbel - CanonMozart - Ave VerumBach - AirSchumann - TräumereiClarke - Prince of Denmark's MarchMore in the same series: Traditional Christmas Carols for solo cello, Book 1. Praise for Traditional Christmas Carols for solo strings: Finding your music was like stumbling upon my own pot o' gold!You have just saved me! Thanks for making such FUN arrangements to play of these classic tunes.Winkmusic.co.uk produces the highest quality arrangements that actually sound like the original track! Tried and tested at 5* venues and concert halls, they are performed all over the world. Previous commissions have appeared on Sunday Times Top 100 Albums and been played by Classic FM chart-toppers.
$25.00
La Bourrée
La Bourrée
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Michael Praetorius
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Alberto Mandarini
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La Bourrée
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Alm@music
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1491035 Composed by Michael Praetorius. Arranged by Alberto Mandarini. Baroque,Chamber,Classical,Ins...
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Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1491035 Composed by Michael Praetorius. Arranged by Alberto Mandarini. Baroque,Chamber,Classical,Instructional,Renaissance. 18 pages. Alm@music #1067793. Published by Alm@music (A0.1491035). Brass Ensemble: 3 Trumpets and 2 Trombones - Grade 2.This is also a transcription and a small adaptation of the original score.I chose “La Bourrée” by Michael Praetorius mainly for educational purposes thanks to the not excessive difficulty, but perfect for students with an intermediate level of preparation. Furthermore, the skillful writing of Praetorius and the beauty of this short composition of his, make the piece absolutely suitable to be included in any concert program.Starting from the 4 canonical parts, I focused above all on the redistribution of the voices bringing them to 5 and intervening on the reorganization of the refrains. Always with the utmost respect for the original score, I simply imagined two opposing choirs that alternate, responding to each other and becoming protagonists from time to time, thus replacing the mere repetition of the refrains.The themes, in turn and to the extent possible, were distributed across all the voices using, in some cases, even simple doubling.As in the adaptation of Contrapunctus I by J. S. Bach, ( https://www.sheetmusicplus.com/en/product/contrapunctus-i-from-the-art-of-the-fugue-bwv-1080-22828292.html ) the choice to use 3 trumpets and 2 trombones, and not the more typical brass quintet (2 trumpets, horn, trombone and tuba), was dictated by the formation for which I made the transcription.Finally, on a didactic level, this piece was fundamental to consolidate a formation at the first experiences and allowed me to deepen the salient aspects of ensemble music such as listening, musical breathing and interplay in its broadest sense.To the individual parts, as usual, I also added that of the horn in F, replacing the 3rd trumpet. At your discretion, of course, to decide whether to replace it or double it directly.The total duration is about 2 minutes and 20 seconds and the midi audio should be useful to get an idea of the arrangement and to be able to study the individual parts.Good Music!am.
$4.99
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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A Canon of Thanks
