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Hit Me With A Hot Note Bass
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Vous avez sélectionné:
Hit Me With A Hot Note Bass
Partitions à imprimer
13 partitions trouvées
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1
Hit Me With A Hot Note
Hit Me With A Hot Note
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Chorale SSAA
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INTERMÉDIAIRE
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Don George and Duke Ellington
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June Berg, MMA
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Hit Me With A Hot Note
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June Berg
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SheetMusicPlus
Choral Choir (SSAA) - Level 3 - SKU: A0.874728 Composed by Don George and Duke Ellington. Arranged by June Berg, MMA. A Cappella. Octavo. 5 pages. June ...
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Choral Choir (SSAA) - Level 3 - SKU: A0.874728 Composed by Don George and Duke Ellington. Arranged by June Berg, MMA. A Cappella. Octavo. 5 pages. June Berg #4595903. Published by June Berg (A0.874728). This arrangement has been uploaded for use by quartets at the small ensemble pricing. Those choruses wishing to sing it should order from the choral upload. Same arrangement, different pricing. SSAA, A Cappella, or Tenor, Lead, Baritone and Bass.
$12.99
Hit Me With A Hot Note
Hit Me With A Hot Note
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Ensemble Jazz
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INTERMÉDIAIRE
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Comédie Musicale
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Don George and Duke Ellington
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Daryl McKenzie
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Hit Me With A Hot Note
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Daryl McKenzie
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1094532 Composed by Don George and Duke Ellington. Arranged by Daryl McKenzie. Broadway,Jazz,Musical/Sho...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1094532 Composed by Don George and Duke Ellington. Arranged by Daryl McKenzie. Broadway,Jazz,Musical/Show. Score and parts. 47 pages. Daryl McKenzie #698587. Published by Daryl McKenzie (A0.1094532). Arranged in the style of Duke Ellington's Sophisticated Ladies for Vocal with Big Band- Voice, 5 Saxes, 4 Trumpets, 4 Trombones, Piano, Guitar, Bass, Drums. Key of C Pops Orchestra arrangement also available: https://bit.ly/3ApuzaY More arrangements by Daryl McKenzie: https://bit.ly/2VKpOXF Contact: www.mckenziemusicproductions.comYoutube Playlist: https://bit.ly/3m0oUkH
$79.99
Hit Me with a Hot Note: Bass Trombone
Hit Me with a Hot Note: Bass Trombone
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Hit Me with a Hot Note: Bass T
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Choir - SKU: AX.00-PC-0018886_BTN Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018886_BTN. Published by Alfred Music - Digital She...
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Choir - SKU: AX.00-PC-0018886_BTN Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018886_BTN. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018886_BTN). UPC: 038081536637.
$3.00
Hit Me with a Hot Note: String Bass
Hit Me with a Hot Note: String Bass
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Hit Me with a Hot Note: String
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Choir - SKU: AX.00-PC-0018886_SB Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018886_SB. Published by Alfred Music - Digital Sheet...
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Choir - SKU: AX.00-PC-0018886_SB Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0018886_SB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018886_SB). UPC: 038081536637.
$3.00
Duke Ellington: Hit Me with a Hot Note and Watch Me Bounce! - choir (SATB: soprano, alto, tenor, bass)
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Chorale SATB
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INTERMÉDIAIRE
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Duke Ellington
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Virtualsheetmusic
Instantly printable sheet music by Duke Ellington for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / choral
Instantly printable sheet music by Duke Ellington for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / choral
$6.23
Duke Ellington: Hit Me with a Hot Note - choir (SAB: soprano, alto, bass)
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Chorale 3 parties
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INTERMÉDIAIRE
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Duke Ellington
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Virtualsheetmusic
Instantly printable sheet music by Duke Ellington for choir (SAB: soprano, alto, bass) of MEDIUM skill level. / choral
Instantly printable sheet music by Duke Ellington for choir (SAB: soprano, alto, bass) of MEDIUM skill level. / choral
$6.08
Duke Ellington: Hit Me with a Hot Note - choir (SATB: soprano, alto, tenor, bass)
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Chorale SATB
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INTERMÉDIAIRE
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Duke Ellington
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Virtualsheetmusic
Instantly printable sheet music by Duke Ellington for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / choral
Instantly printable sheet music by Duke Ellington for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / choral
$6.08
Hit Me With A Hot Note - Bass
Hit Me With A Hot Note - Bass
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Contrebasse (partie séparée)
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Don George and Duke Ellington
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Mac Huff
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Jazz
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Hit Me With A Hot Note - Bass
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Don George and Duke Ellington (1899-1974). Arranged by Mac Huff. For Bass. Combo. Concert; Jazz; Pop. Individual instrument part. 3 pages. Duration 2:40. Pub...
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By Don George and Duke Ellington (1899-1974). Arranged by Mac Huff. For Bass. Combo. Concert; Jazz; Pop. Individual instrument part. 3 pages. Duration 2:40. Published by Hal Leonard - Digital Sheet Music
$7.00
Heaven Is A Place On Earth
Heaven Is A Place On Earth
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Basson, Piano (duo)
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INTERMÉDIAIRE
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Belinda Carlisle
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Kevin P Holdgate
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Heaven Is A Place On Earth
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Kevin P Holdgate
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SheetMusicPlus
Bassoon,Piano - Level 3 - SKU: A0.1386951 By Belinda Carlisle. By Ellen Shipley and Rick Nowels. Arranged by Kevin P Holdgate. 20th Century,Broadway,Fil...
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Bassoon,Piano - Level 3 - SKU: A0.1386951 By Belinda Carlisle. By Ellen Shipley and Rick Nowels. Arranged by Kevin P Holdgate. 20th Century,Broadway,Film/TV,Musical/Show,Pop,Standards. Score and part. 7 pages. Kevin P Holdgate #970836. Published by Kevin P Holdgate (A0.1386951). This is an arrangement for solo instrument and piano pitched at around the level of ABRSM Grade 4/5 for most instruments. The range of notes is very compact with the difficulty steming from the often complicated rhythms and also the opening statement of the main theme is unaccompanied requiring the soloist to play with confidence and accuracy. The use of syncopated rhythms makes this an excellent repertoire piece.Heaven Is a Place on Earth is a single by American singer Belinda Carlisle from her second studio album, Heaven on Earth (1987). Written by Rick Nowels and Ellen Shipley, the song was released as the lead single from the Heaven on Earth album on September 14, 1987, and it reached number one on the US Billboard Hot 100 on December 5, 1987, becoming Carlisle's only US chart-topper to date. A month later it peaked at number one in the United Kingdom, where it held the top spot of the UK Singles Chart for two weeks. In Australia it peaked at number 2. It is considered to be Carlisle's signature song.The song was nominated for the Grammy Award for Best Female Pop Vocal Performance in 1988, but lost out to Whitney Houston's I Wanna Dance with Somebody (Who Loves Me).
$5.99
Heaven Is A Place On Earth
Heaven Is A Place On Earth
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Contrebasse, Piano (duo)
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INTERMÉDIAIRE
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Belinda Carlisle
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Kevin P Holdgate
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Heaven Is A Place On Earth
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Kevin P Holdgate
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SheetMusicPlus
Double Bass,Piano,String Bass - Level 3 - SKU: A0.1386966 By Belinda Carlisle. By Ellen Shipley and Rick Nowels. Arranged by Kevin P Holdgate. 20th Cent...
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Double Bass,Piano,String Bass - Level 3 - SKU: A0.1386966 By Belinda Carlisle. By Ellen Shipley and Rick Nowels. Arranged by Kevin P Holdgate. 20th Century,Broadway,Film/TV,Musical/Show,Pop,Standards. Score and part. 7 pages. Kevin P Holdgate #970851. Published by Kevin P Holdgate (A0.1386966). This is an arrangement for solo instrument and piano pitched at around the level of ABRSM Grade 4/5 for most instruments. The range of notes is very compact with the difficulty steming from the often complicated rhythms and also the opening statement of the main theme is unaccompanied requiring the soloist to play with confidence and accuracy. The use of syncopated rhythms makes this an excellent repertoire piece.Heaven Is a Place on Earth is a single by American singer Belinda Carlisle from her second studio album, Heaven on Earth (1987). Written by Rick Nowels and Ellen Shipley, the song was released as the lead single from the Heaven on Earth album on September 14, 1987, and it reached number one on the US Billboard Hot 100 on December 5, 1987, becoming Carlisle's only US chart-topper to date. A month later it peaked at number one in the United Kingdom, where it held the top spot of the UK Singles Chart for two weeks. In Australia it peaked at number 2. It is considered to be Carlisle's signature song.The song was nominated for the Grammy Award for Best Female Pop Vocal Performance in 1988, but lost out to Whitney Houston's I Wanna Dance with Somebody (Who Loves Me).
$5.99
Everybody Loves My Baby (but My Baby Don't Love Nobody But Me)
Everybody Loves My Baby (but My Baby Don't Love Nobody But Me)
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Orchestre d'harmonie
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Jazz
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Clarence Williams and The Blue
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Thomas Graf
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Everybody Loves My Baby
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Concert Band - SKU: A0.502604 By Clarence Williams and The Blue Five. By Jack Palmer and Spencer Williams. Arranged by Thomas Graf. Jazz. Score and part...
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Concert Band - SKU: A0.502604 By Clarence Williams and The Blue Five. By Jack Palmer and Spencer Williams. Arranged by Thomas Graf. Jazz. Score and parts. 34 pages. Published by Thomas Graf - the-hit-factory.com (A0.502604). One of the hottest jazz tunes ever, a real crowd pleaser - have fun! Instrumentation: Flute 1 Flute 2 Clarinet 1 in Bb Clarinet 2 in Bb Clarinet 3 in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Horn in F Tenor Horn in Bb Baritone Horn in Bb Trombone Tuba Drum Set Piano Bass in Bb Listen to the video recording - a challenge for your ensemble. Please don't forget to review your purchase - you will help other musicians to choose the perfect arrangement for their ensemble. Thank you very much! Important note: All our Big Band and Concert Band arrangements are played and prooved with our own ensembles with great success. Please let us know if you need any transposed part. Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 - E-Mail: info@the-hit-factory.com. - www.the-hit-factory.com - facebook: https://www.facebook.com/hitfactorymusic.
$50.00
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
Valor (for Brass Quintet & Percussion)
Valor (for Brass Quintet & Percussion)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Dr
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Valor
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https://gildedmusicpress.com/
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1158392 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Patriotic. 19 pages. Https://gi...
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Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1158392 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Patriotic. 19 pages. Https://gildedmusicpress.com/ #758673. Published by https://gildedmusicpress.com/ (A0.1158392). “Valor†offers a potent two-minute concert opener, or an attention grabber after intermission. It is also highly effective as an encore (depending on endurance, particularly of the first trumpeter and hornist), leaving the audience with a rush and energy typified by an effective encore. Besides some minor edits and formatting, the composition was completed the day I hit my ten-year anniversary of serving in the United States Air Force Bands—a fitting anthem to celebrate a decade of service to my wonderful country! The title settled the next day as I began my second decade as an Airman Musician: Valor. The best account is recorded in my personal journal on 27 April 2021: “[Valor] is the Thrower family motto from hundreds of years ago. It’s also a concept that helped get me into [Arizona State University] for my doctoral studies. [Professor] Hickman asked for a very difficult orchestral excerpt during my audition. [Béla Bartók’s “Concerto for Orchestra.â€] I expressed some trepidation, but decided to give it a shot. I nailed it! Then Hickman turned to me with a big smile, ‘I give extra points for valor!’ So I’m pretty sure this little two-minute musical journal entry will keep the name ‘Valor’… as a motivational cheer for my next ten years in the Air Force. Valor! Great courage in the face of danger, especially in battle. Ok, in the face of life’s many battles, Valor it is! And on to the next ten years!†The music is in AA’BA’ form. The B section is heavily influenced by the thematic material of the A section, but with a strongly contrasting mood that could be dubbed quiet dignity. A finale section follows the last A with some motivic twists from throughout the piece, decisively ending with a power that could well be accompanied by a dazzling flurry of fireworks. None of the performers get much of a reprieve throughout the two minutes packed full of notes. The first trumpet part stays in the upper mid-range for most of it, which would absolutely sparkle on an E-flat trumpet (alternate part provided). Second trumpet is also demanding. The horn part demands a decent level of mastery in the high range as well as the low range, vehemently forsaking its traditional role of off beats. The trombone and tuba parts also present their challenges, and never really stop longer than to take a breath. Although this work could conceivably be performed without percussion, doing so is strongly discouraged. The power delivered by the snare, bass, and cymbals, and even the triangle in the B section, make the part arguably indispensable.
$19.95
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Hit Me With A Hot Note Bass
