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Vous avez sélectionné:
A Minor Scare, That
Partitions à imprimer
6 partitions trouvées
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A Minor Scare, That's All...
A Minor Scare, That's All...
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Piano Facile
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DÉBUTANT
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Deborah Sutin Fitts
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A Minor Scare, That's All...
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Deborah Sutin Fitts
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.1292968 Composed by Deborah Sutin Fitts. Children,Halloween,Instructional. Score. 2 pages. Deborah Sutin Fitts #883574. P...
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Easy Piano - Level 1 - SKU: A0.1292968 Composed by Deborah Sutin Fitts. Children,Halloween,Instructional. Score. 2 pages. Deborah Sutin Fitts #883574. Published by Deborah Sutin Fitts (A0.1292968). Students love the sound of minor pieces, and this is good for Halloween or any dramatic moment!  Suitable for a second year student, it incorporates smooth scale passages and broken arpeggios making it a great supplemental piece for technique.
$1.99
Scaredy-Cat (Easy Jazzy Solo)
Scaredy-Cat (Easy Jazzy Solo)
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Piano Facile
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FACILE
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Halloween
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Jennifer Eklund
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Scaredy-Cat
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Jennifer Eklund
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SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.1409293 Composed by Jennifer Eklund. Halloween,Instructional,Jazz. Score. 3 pages. Jennifer Eklund #991905. Published by ...
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Easy Piano - Level 2 - SKU: A0.1409293 Composed by Jennifer Eklund. Halloween,Instructional,Jazz. Score. 3 pages. Jennifer Eklund #991905. Published by Jennifer Eklund (A0.1409293). Scaredy-Cat is a sassy swinging solo perfect for Halloween or any time of the year. This piece offers a gentle introduction to the key of F minor with a pattern-based approach that is well-suited for late beginners and beyond.
$3.99
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
Pi, Why?
Pi, Why?
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Jazz combo
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Roger Aldridge
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Pi, Why?
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Roger Aldridge
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SheetMusicPlus
Jazz Combo - SKU: A0.979629 Composed by Roger Aldridge. 20th Century,Blues,Jazz. Score and parts. 1 pages. Roger Aldridge #427659. Published by Roger Al...
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Jazz Combo - SKU: A0.979629 Composed by Roger Aldridge. 20th Century,Blues,Jazz. Score and parts. 1 pages. Roger Aldridge #427659. Published by Roger Aldridge (A0.979629). Pi, Why? is an unconventional blues that uses Pi (3.1415926....) as a sequence of melodic intervals. Do not let that scare you away -- the music swings. The structure of this 18-bar tune is based on 3-bar phrases and there is shifting time in places. The first 32 digits of Pi are used in this tune: 3.1415926535897932384626433832795. Here is how I converted the Pi numbers to melodic intervals: Simply, each number becomes an interval in relation to the root of the chord being used at the time. That is, the relationships change when the chords change. The intervals are natural or altered (b9, #9, #11, etc.) chord tones or higher tensions. For 3 on V7 chords, I use either natural 3 or minor 3 (enharmonically #9). The tune starts with the sequence of 3 (#9), 1, 4 (#11), 1, 5, 9 (b9) played twice with C7 (#9) and then transposed down a half-step for B7 (#9). The next sequence -- 2 (b9), 6, 5, 3 (natural), 5 -- is played with the Bb7 (#9) chord and so on through the rest of the 32-note sequence. While 3 is the first number of Pi, that is not why the tune is structured with 3-bar phrases. Simply, the 3-bar phrases felt natural and swinging to me. This tune has a strong blues flavor; however, it is not a conventional 12-bar blues in its structure or chord progression. The A part is 12 bars. Then, the B part is 6 bars with alternating 4/4 and 3/4 (one can think of it as 7/4). The B part also has a harmonic shift from V7 (#9) chords to V9 sus4 and major 7th chords. CONTACT: http://www.rogeraldridge.com/contact.html PRO: BMI WEBSITE: http://www.rogeraldridge.com/ DURATION: around 4:00 YEAR OF RELEASE: 1999.
$3.00
Fright NIght Fun! (13 Unison Not-Too-Scary Songs)
Fright NIght Fun! (13 Unison Not-Too-Scary Songs)
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Chorale Unison
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DÉBUTANT
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Carol Troutman Wiggins
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Fright NIght Fun!
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Carol Troutman Wiggins
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SheetMusicPlus
Choral Choir (Unison) - Level 1 - SKU: A0.727571 Composed by Carol Troutman Wiggins. Children,Comedy,Contemporary,Holiday,Instructional. Octavo. 43 page...
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Choral Choir (Unison) - Level 1 - SKU: A0.727571 Composed by Carol Troutman Wiggins. Children,Comedy,Contemporary,Holiday,Instructional. Octavo. 43 pages. Carol Troutman Wiggins #4839465. Published by Carol Troutman Wiggins (A0.727571). Fright Night Fun song subjects were written with the elementary student in mind – minor keys, pumpkin patches, witches playing games together, thunder and lightning – songs that fit the season but won’t scare them to death. The students will love the addition of the rhythm sticks as rattlin’ bones, making cackling sounds of the witches, screaming at a creepy spider, dancing with a snake, and making their own thunderstorms. These songs have easy lyrics, melodies and rhythms that are quick to teach and learn! So, have some fun singing these not-too-scary songs!
$12.95
The Box
The Box
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Roddy Ricch
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Christopher Bell
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The Box
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Silent Home Records
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.812391 By Roddy Ricch. By Adarius Moragne, Aqeel Tate, Larrance Dopson, Rodrick Moore, and Samuel Gloa...
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String Quartet String Quartet - Level 4 - SKU: A0.812391 By Roddy Ricch. By Adarius Moragne, Aqeel Tate, Larrance Dopson, Rodrick Moore, and Samuel Gloade. Arranged by Christopher Bell. Contemporary. Score and parts. 12 pages. Silent Home Records #5373527. Published by Silent Home Records (A0.812391). String Quartet version of Roddy Ricch's The Box. Outro included. It has a couple of contemporary techniques including the chop. But don't let that scare you. 3.5 minutes in length. Includes the harmony parts he sings live. Key of C minor. .
$19.99
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A Minor Scare, That
