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Vous avez sélectionné:
Schoenberg century
Partitions à imprimer
47 partitions trouvées
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26
Freihold (A. Schoenberg)
Freihold (A. Schoenberg)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Arnold Schoenberg
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Edition Maulwurf
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Freihold
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Edition Maulwurf
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1296067 Composed by Arnold Schoenberg. Arranged by Edition Maulwurf. 19th Century,20th Cent...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1296067 Composed by Arnold Schoenberg. Arranged by Edition Maulwurf. 19th Century,20th Century. 9 pages. Edition Maulwurf #886338. Published by Edition Maulwurf (A0.1296067). Arnold Schoenberg (1874-1951)Freihold, Op.3 No.6arrangement for brass quintet2 trumpets (Bb), horn (F), trombone, tubaduration: ca 1m 30s score + partsSee also for more arrangements:https://www.edition-maulwurf.de.
$5.99 ≈
5.53€
Seven Pieces in Twentieth-Century Styles
Seven Pieces in Twentieth-Century Styles
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Piano seul
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INTERMÉDIAIRE
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James Siddons
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Seven Pieces in Twentieth-Cent
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and W...
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Piano Solo - Level 3 - SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com
$5.00 ≈
4.61€
The Double Life of Dr. Schoenberg for alto saxophone and live electronics
The Double Life of Dr. Schoenberg for alto saxophone and live electronics
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Saxophone Alto
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AVANCÉ
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Contemporain
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Michail Goleminov
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The Double Life of Dr. Schoenb
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Michail Goleminov
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SheetMusicPlus
Alto Saxophone Solo - Level 5 - SKU: A0.1008859 Composed by Michail Goleminov. 20th Century,Contemporary. Individual part. 5 pages. Michail Goleminov #5...
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Alto Saxophone Solo - Level 5 - SKU: A0.1008859 Composed by Michail Goleminov. 20th Century,Contemporary. Individual part. 5 pages. Michail Goleminov #5302705. Published by Michail Goleminov (A0.1008859). Concert piece for alto saxophone and generative live electronics
$9.00 ≈
8.31€
If Not Now, When?
If Not Now, When?
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Contemporain
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Chris Gordon
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If Not Now, When?
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Cool Wind Music Digital
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pa...
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Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!
$25.00 ≈
23.07€
Sonata Hymnica No. 1
Sonata Hymnica No. 1
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 1
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.972645 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Sc...
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Piano Solo - Level 4 - SKU: A0.972645 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Score. 19 pages. James Siddons Music and Writings #4350561. Published by James Siddons Music and Writings (A0.972645). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. All three pedals on an American piano (damper, sostenuto, and sustain) are needed. The orchestral and cinematic structure of this music requires extensive use of three staffs, which may consist of two treble and one bass staff, or one treble and two bass staffs. In basic grand-staff passages, the two staffs may both be treble or both bass. The musical influences in these sonatas include religious song in rural America, the chromaticism and Expressionism of Arnold Schoenberg and his followers, and the tone colors of the music of Japanese composer Toru Takemitsu.DurationsSonata Hymnica No. 1 --- 15 minutes.Sonata Hymnica No. 2 --- 11 minutes. Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50 ≈
8.77€
'Change of scene' from Act III of Wozzeck
'Change of scene' from Act III of Wozzeck
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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'Change of scene' from Act III
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00 ≈
4.61€
Excerpt from Lulu Suite
Excerpt from Lulu Suite
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Guitare
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Contemporain
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Alban Berg
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Rod Whittle
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Excerpt from Lulu Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Publi...
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Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00 ≈
4.61€
Sonata Hymnica No. 2
Sonata Hymnica No. 2
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 2
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James Siddons Music and Writings
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.972646 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Sc...
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Piano Solo - Level 4 - SKU: A0.972646 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Concert,Folk,Gospel,Jazz. Score. 17 pages. James Siddons Music and Writings #4350577. Published by James Siddons Music and Writings (A0.972646). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. All three pedals on an American piano (damper, sostenuto, and sustain) are needed. The orchestral and cinematic structure of this music requires extensive use of three staffs, which may consist of two treble and one bass staff, or one treble and two bass staffs. In basic grand-staff passages, the two staffs may both be treble or both bass. The musical influences in these sonatas include religious song in rural America, the chromaticism and Expressionism of Arnold Schoenberg and his followers, and the tone colors of the music of Japanese composer Toru Takemitsu. Durations Sonata Hymnica No. 1 --- 15 minutes.Sonata Hymnica No. 2 --- 11 minutes. Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50 ≈
8.77€
Notturno
Notturno
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Piano seul
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INTERMÉDIAIRE
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Arnold Schoenberg
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John Tellez
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Notturno
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John Tellez
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1421903 By Arnold Schoenberg. By Arnold Schoenberg. Arranged by John Tellez. 20th Century,Classical,Contemporary,Romantic...
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Piano Solo - Level 3 - SKU: A0.1421903 By Arnold Schoenberg. By Arnold Schoenberg. Arranged by John Tellez. 20th Century,Classical,Contemporary,Romantic Period. Score. 4 pages. John Tellez #1003235. Published by John Tellez (A0.1421903). Arnold Schönberg - Notturno for Strings and Harp transcribed for piano by John Tellez.
$4.00 ≈
3.69€
Six Little Pieces, op. 19 for Tuba or Bass Trombone & Piano
Six Little Pieces, op. 19 for Tuba or Bass Trombone & Piano
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Tuba et Piano
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AVANCÉ
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Arnold Schoenberg
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Ralph Sauer
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Six Little Pieces, op. 19 for
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Gordon Cherry
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SheetMusicPlus
Piano,Tuba - Level 5 - SKU: A0.792482 Composed by Arnold Schoenberg. Arranged by Ralph Sauer. 20th Century,Contemporary. Score and part. 8 pages. Gordon...
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Piano,Tuba - Level 5 - SKU: A0.792482 Composed by Arnold Schoenberg. Arranged by Ralph Sauer. 20th Century,Contemporary. Score and part. 8 pages. Gordon Cherry #4988259. Published by Gordon Cherry (A0.792482). Arnold Schoenberg's Six Little Pieces, Opus 19, originally for Piano, were published in 1913 at a time when the composer was reacting to his feelings of the excesses of the Romantic Period. They were composed concurrently with his gigantic work Gurre-Lieder. The first five pieces were written in one day and the last one shortly after the death of Gustav Mahler as a rumored tombeau or memorial.Mr. Sauer has deftly arranged these six short pieces of around 5 minutes in length for advanced performers.
$20.00 ≈
18.46€
Six Little Pieces, op. 19 for Euphonium and Piano
Six Little Pieces, op. 19 for Euphonium and Piano
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Euphonium, Piano (duo)
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AVANCÉ
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Arnold Schoenberg
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Ralph Sauer
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Six Little Pieces, op. 19 for
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Gordon Cherry
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SheetMusicPlus
Euphonium,Piano - Level 5 - SKU: A0.811089 Composed by Arnold Schoenberg. Arranged by Ralph Sauer. 20th Century,Romantic Period. Score and part. 12 page...
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Euphonium,Piano - Level 5 - SKU: A0.811089 Composed by Arnold Schoenberg. Arranged by Ralph Sauer. 20th Century,Romantic Period. Score and part. 12 pages. Gordon Cherry #5010383. Published by Gordon Cherry (A0.811089). Arnold Schoenberg's Six Little Pieces, Opus 19, originally for Piano, were published in 1913 at a time when the composer was reacting to his feelings of the excesses of the Romantic Period. They were composed concurrently with his gigantic work Gurre-Lieder. The first five pieces were written in one day and the last one shortly after the death of Gustav Mahler as a rumored tombeau or memorial. Mr. Sauer has deftly arranged these six short pieces of around 5 minutes in length for advanced performers. Parts are supplied for bass and treble readers.
$20.00 ≈
18.46€
Six Little Pieces, op. 19 for Trombone and Piano
Six Little Pieces, op. 19 for Trombone and Piano
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Trombone et Piano
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AVANCÉ
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Contemporain
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Arnold Schoenberg
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Ralph Sauer
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Six Little Pieces, op. 19 for
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Gordon Cherry
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SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.792480 Composed by Arnold Schoenberg. Arranged by Ralph Sauer. 20th Century,Contemporary. Score and parts. 8 pages. G...
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Small Ensemble - Level 5 - SKU: A0.792480 Composed by Arnold Schoenberg. Arranged by Ralph Sauer. 20th Century,Contemporary. Score and parts. 8 pages. Gordon Cherry #4988245. Published by Gordon Cherry (A0.792480). Arnold Schoenberg's Six Little Pieces, Opus 19, originally for Piano, were published in 1913 at a time when the composer was reacting to his feelings of the excesses of the Romantic Period. They were composed concurrently with his gigantic work Gurre-Lieder. The first five pieces were written in one day and the last one shortly after the death of Gustav Mahler as a rumored tombeau or memorial. Mr. Sauer has deftly arranged these six short pieces of around 5 minutes in length for advanced performers.
$20.00 ≈
18.46€
Notturno for Trombone Ensemble
Notturno for Trombone Ensemble
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Ensemble de Trombones
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AVANCÉ
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Arnold Schoenberg
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Hayden Stellges
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Notturno for Trombone Ensemble
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Gordon Cherry
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SheetMusicPlus
Bass Trombone,Tenor Trombone - Level 5 - SKU: A0.1148190 Composed by Arnold Schoenberg. Arranged by Hayden Stellges. 19th Century,Romantic Period. 10 pa...
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Bass Trombone,Tenor Trombone - Level 5 - SKU: A0.1148190 Composed by Arnold Schoenberg. Arranged by Hayden Stellges. 19th Century,Romantic Period. 10 pages. Gordon Cherry #748359. Published by Gordon Cherry (A0.1148190). Notturno was composed in 1895 by Arnold Schoenberg, originally for Strings and Harp. Hayden Stellges has exquisitely arranged the composer's early work for 7-part Trombone Ensemble. The atmosphere is calm and serene, with rich textures emotionally tugging at your heartstrings as the work builds and builds, exploding into a giant climax before settling down into the final bars. This 3 minute work is appropriate for advanced performers.
$25.00 ≈
23.07€
Excerpt from the Lyric Suite
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
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4 pp
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Excerpt from the Lyric Suite
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00 ≈
4.61€
Funf Klavierstucke I sehr langsam
Funf Klavierstucke I sehr langsam
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Piano seul
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AVANCÉ
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Contemporain
#
Stephen R Dalrymple
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Funf Klavierstucke I sehr lang
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Stephen R Dalrymple
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SheetMusicPlus
Instrumental Solo - Level 5 - SKU: A0.818287 By Stephen R Dalrymple. By Arnold Schoenberg. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs)...
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Instrumental Solo - Level 5 - SKU: A0.818287 By Stephen R Dalrymple. By Arnold Schoenberg. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). 20th Century. Individual part. 8 pages. Stephen R Dalrymple #4979561. Published by Stephen R Dalrymple (A0.818287). Fünf Klavierstücke I Sehr Langsam (Opus 23 Number 1) (Five Piano Pieces) by Arnold Schönberg (1874-1951). ♫ This opus was written in 1923. Piece # 1 is written in Schoenberg's atonal style, but is a precursor to his 12 tone pieces. Number 5 in the series was Schönberg’s first published 12 tone composition. ♫ Edited for 10 inch tablet by Stephen R Dalrymple ♫ Sequenced by the editor ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99 ≈
3.68€
Transfigured Night (Verklärte Nacht, Op. 4)
Transfigured Night (Verklärte Nacht, Op. 4)
Brass Choir or Ensemble,(1 B-flat piccolo trumpet,3 B-flat trumpets,2 horns,2 trombones,2 tubas)
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Contemporain
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Arnold Schoenberg
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Craig Garner
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Transfigured Night
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Dorm 40 Music
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SheetMusicPlus
Composed by Arnold Schoenberg (1874-1951). Arranged by Craig Garner. 21st Century, Post-Romantic. Score, Set of Parts. 57 pages. Published by Dorm 40 Music (S0....
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Composed by Arnold Schoenberg (1874-1951). Arranged by Craig Garner. 21st Century, Post-Romantic. Score, Set of Parts. 57 pages. Published by Dorm 40 Music (S0.171403). - Score,Set of Parts - 21st Century,Post-Romantic - Dorm 40 Music
$30.00 ≈
27.69€
With Thirteen (with full score and Individual parts)
With Thirteen (with full score and Individual parts)
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Contemporain
#
Andrew Schneider
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With Thirteen
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Andrew Jeffery Schneider
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SheetMusicPlus
Small Ensemble B-Flat Clarinet,Cello,Piano,Violin - SKU: A0.484646 Composed by Andrew Schneider. 20th Century,Classical,Contemporary. Score and parts. 3...
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Small Ensemble B-Flat Clarinet,Cello,Piano,Violin - SKU: A0.484646 Composed by Andrew Schneider. 20th Century,Classical,Contemporary. Score and parts. 39 pages. Published by Andrew Jeffery Schneider (A0.484646). For Clarinet in Bb, Piano, Violin, and VIolincello. 'With Thirteen' was written in a mostly late 20th-century style with Schoenberg's 12-tone technique creating a lot more dissonance and strange rhythms resulting in a more tense and unresolved feeling throughout the piece. The piece also uses some unique techniques that are not commonly used like the pianist plucking the strings instead of pressing the key, giving the piano a more percussive sound. In the piece, there are not very many melodies, instead, more rhythmic passages, that play as an important section.
$24.99 ≈
23.06€
Adagio (Dark Halls) (Piano)
Adagio (Dark Halls) (Piano)
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Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Ric Flauding
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Adagio
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Denise Lea Flauding
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.867858 Composed by Ric Flauding. 20th Century,Concert,Contemporary,Standards. Score. 3 pages. Denise Lea Flauding #289059...
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Piano Solo - Level 4 - SKU: A0.867858 Composed by Ric Flauding. 20th Century,Concert,Contemporary,Standards. Score. 3 pages. Denise Lea Flauding #2890595. Published by Denise Lea Flauding (A0.867858). Movement 1 from Ric's 2 Short Pieces For Piano (Adagio/Moderato). Inspired by the Schoenberg Five Pieces for Orchestra. Also available for orchestra. Great introduction to 20th Century music. Composed in symmetric style. flaudingmusic.com
$3.99 ≈
3.68€
Pyxis Nautica
Pyxis Nautica
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Piano seul
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Heather Cattanach
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Pyxis Nautica
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Heather Cattanach
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SheetMusicPlus
Piano Solo - SKU: A0.507444 Composed by Heather Cattanach. 20th Century,Children,Contemporary,Instructional. Score. 3 pages. Published by Heather Cattan...
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Piano Solo - SKU: A0.507444 Composed by Heather Cattanach. 20th Century,Children,Contemporary,Instructional. Score. 3 pages. Published by Heather Cattanach (A0.507444). Dodecaphonic Intermediate Piano Solo. Here’s an accessible introduction to 12-Tone music. You may be surprised by how melodic it actually sounds. A dodecaphonic piece for a constellation with twelve letters in its name, although it was shortened to Pyxis, the Compass from Pyxis Nautica, the Mariner’s Compass. I chose the original Tone Row by drawing from a hat. The original row is: B, C, C#/Db, G#/Ab, A#/Bb, D, E, G, A F#/Gb, F, D#/Eb. The rows are used in the original order, inverted, retrograde, and inverted retrograde, and have been transposed. See the accompanying chart. From “88 Constellations†a collection by Heather Cattanach featuring one piece of piano music for each of the 88 constellations (to match the number of keys on a standard piano). Performance Time 40 seconds. 1 page + chart. (General Instructional, Modern, 20th Century, Repertoire, Recital, Schoenberg).
$3.99 ≈
3.68€
Sonata in 014 & 016
Sonata in 014 & 016
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Piano seul
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AVANCÉ
#
Contemporain
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Diana Meux
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Sonata in 014 & 016
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Diana Meux
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1027156 Composed by Diana Meux. 20th Century,Contemporary. Score. 5 pages. Diana Meux #2024647. Published by Diana Meux (...
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Piano Solo - Level 5 - SKU: A0.1027156 Composed by Diana Meux. 20th Century,Contemporary. Score. 5 pages. Diana Meux #2024647. Published by Diana Meux (A0.1027156). Piano sonata in 20th century music style - Schoenberg-esque - based on 014 and 016 chord clusters, for advanced pianist.
$3.99 ≈
3.68€
Two Piano Pieces (1970)
Two Piano Pieces (1970)
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Piano seul
#
AVANCÉ
#
Contemporain
#
Richard St
#
Two Piano Pieces
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Richard St. Clair
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.939791 Composed by Richard St. Clair. Contemporary. Score. 14 pages. Richard St. Clair #3663969. Published by Richard St....
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Piano Solo - Level 5 - SKU: A0.939791 Composed by Richard St. Clair. Contemporary. Score. 14 pages. Richard St. Clair #3663969. Published by Richard St. Clair (A0.939791). These two extended pieces for solo piano require an adept specialist in modern music performance. A close attention to the fine details in this expressionistic music is a must. Musicians of 20th century music will probably notice a debt to the 20th century masters, Roger Sessions (to whom the pieces are dedicated) and Arnold Schoenberg. Total time in performance: ca. 10 minutes. The audio clip is of the entire work, the premiere performance by the composer himself at Harvard University in 1971.
$12.99 ≈
11.99€
Moderato (Piano)
Moderato (Piano)
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Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Ric Flauding
#
Moderato
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Denise Lea Flauding
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.867903 Composed by Ric Flauding. 20th Century,Concert,Contemporary,Standards. Score. 3 pages. Denise Lea Flauding #289099...
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Piano Solo - Level 4 - SKU: A0.867903 Composed by Ric Flauding. 20th Century,Concert,Contemporary,Standards. Score. 3 pages. Denise Lea Flauding #2890993. Published by Denise Lea Flauding (A0.867903). Movement 2 from Ric's 2 Short Pieces For Piano (Adagio/Moderato). Inspired by the Schoenberg Five Pieces for Orchestra. Great introduction to 20th Century music. Composed in symmetric style.flaudingmusic.com
$3.99 ≈
3.68€
Sonata Hymnica No. 3
Sonata Hymnica No. 3
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Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
James Siddons
#
 
#
Sonata Hymnica No. 3
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James Siddons Music and Writings
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.972647 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Blues,Concert,Jazz,Spiritual...
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Piano Solo - Level 4 - SKU: A0.972647 Composed by James Siddons. Arranged by James Siddons Music and Writings. 20th Century,Blues,Concert,Jazz,Spiritual. Score. 12 pages. James Siddons Music and Writings #4350581. Published by James Siddons Music and Writings (A0.972647). About the Sonata Hymnica Series Program Note Composer James Siddons draws on the ethos of American rural hymns and spirituals to create evocations of the deeper, larger meaning of familiar church melodies. These sonatas for piano solo explore these deeper meanings in a variety of contemporary musical influences, while keeping in mind the acoustics of small rural churches of the late nineteenth century, with wooden floors and walls, high ceilings, and dimensions determined by local builders who knew how to shape a room for excellent acoustics in an age of no electricity and no microphones. These sonatas are but partly about the specific melodies and words, and mostly about their meaning in spiritual contemplation . . . and the piano, resonating, reverberant, sometimes whispering---as a sacred harp. Although these sonatas have no specific titles, the first sonata may be thought of as the Prayer Sonata, the second as the Travel Sonata, as in a spiritual journey, and the third sonata is about our greatest fear, that of being alone and without God. Sonata Hymnica No. 3 draws on two melodies from the African-American experience. One, Were You There (When They Crucified My Lord)? was first published in 1899 in W. E. Barton’s Old Plantation Hymns but existed earlier as a folk hymn. It became the first spiritual to be included in a major hymnal, The Hymnal 1940 of the Episcopal Church in the U.S.A. Sometimes I Feel Like a Motherless Child was sung by the Jubilee Singers of Fisk University from 1870 on, and was published in the Rev. Dr. Barton’s Old Plantation Hymns in 1899. Performance Note The pianist must keep in mind that these sonatas are about playing the piano as much as playing a composition. Musical effects characteristic of the piano and descriptive of the memory in American culture are the substances of these piano solos. Touch is important: in many places, several dynamics are called for on the same beat. Duration --- . Sonata Hymnica No. 3 --- 9 minutes. About the Composer Composer, musicologist, and pianist James Siddons studied composition with Dika Newlin, a protégé of Arnold Schoenberg, and electronic music with Merrill Ellis, founder of the electronic music program at the University of North Texas, where he also earned a PhD in musicology. After a year at the University of London, where he studied musical analysis at King’s College and electronic music at Goldsmiths’ College, Siddons spent two years in Japan as a research scholar at Tokyo University of Arts, participating in the Ethnomusicology Seminar of Fumio Koizumi. Siddons has also studied theology and liturgy at the Duke University Divinity School. In addition to books and articles on contemporary music and music in Japan, Siddons was written compositions in many genres. Recordings of his piano performances are available at online streaming services. His website is www.JamesSiddons.com His performing rights organization is ASCAP.
$9.50 ≈
8.77€
Two Scenes from the Lodz Ghetto: 1. At the Clothing Department; 2. To Get a Ration
Two Scenes from the Lodz Ghetto: 1. At the Clothing Department; 2. To Get a Ration
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Piano, Voix
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AVANCÉ
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Stanley M Hoffman
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Two Scenes from the Lodz Ghett
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stanleymhoffman.com
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1435089 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. Score. 48 pages. Stanleymhoffman.com #1015189...
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Piano,Vocal,Voice - Level 5 - SKU: A0.1435089 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. Score. 48 pages. Stanleymhoffman.com #1015189. Published by stanleymhoffman.com (A0.1435089). Opera Scenes 1. At the Clothing Department (3:00); 2. To Get a Ration (9:00) - vocal soloists & piano or chamber ensemble (cl, bn, tpt, tbn, perc, vln, vc) with live or prerecorded crowd noise - 2021, 2024. The libretto is comprised of the insightful observations of a young Jewish boy—Abraham “Abramek” Koplowicz—who was trapped by the Nazis in the Lodz ghetto and who later died in Auschwitz. The libretto appears before each scene in the scores.This may be a relatively brief piece, but it is a major one for me and posthumously for the author. I am fortunate to be the only person given blanket gratis permission to set the words of Abraham Koplowicz to music. He composed a book of poetry, plays, and artwork while imprisoned in the Lodz Ghetto before perishing later in Auschwitz before he could become a Bar Mitzvah. The contents of that book are quite good, sophisticated for his age. Abraham's late half-brother, Eliezer Grynfeld—who found the book in the 1990s—and I eventually became good friends. The Pope once kissed Eliezer's hand. That is how highly regarded this collection is and, by some stroke of luck or fate, I have got exclusive musical rights to the book until it enters the public domain. In my settings of AT THE CLOTHING DEPARTMENT and TO GET A RATION, I combine the musical language of Schoenberg's A SURVIVOR FROM WARSAW very nearly with the instrumentation of Stravinsky's A SOLDIER'S TALE - only the percussion instruments differ. The musical language of these brief opera scenes is appropriately terse, very much in keeping with the oppressiveness of imprisonment. Please have a look and a listen. Thank you for your consideration. ---Words originally in Polish by Abraham (“Abramek”) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau) Translation by Sarah Lawson and Małgorzata Koraszewska Adapted by Stanley M. Hoffman Translation by Sarah Lawson and Małgorzata Koraszewska. © Copyright 1993 by Eliezer Grynfeld. All rights reserved. Used by permission of Eliezer Grynfeld. Adapted by permission of Sarah Lawson and Małgorzata Koraszewska. Libretto by Stanley M. Hoffman. Music by Stanley M. Hoffman. NotePerfomer 4 Audio and Scrolling Score Video Seeking Live Performances Music: © Copyright 2021, 2024 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)com All rights reserved.
$12.00 ≈
11.08€
Two Scenes from the Lodz Ghetto - Chamber Version: 1. At the Clothing Department; 2. To Get a Ration
Two Scenes from the Lodz Ghetto - Chamber Version: 1. At the Clothing Department; 2. To Get a Ration
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Stanley M Hoffman
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Two Scenes from the Lodz Ghett
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stanleymhoffman.com
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SheetMusicPlus
Mixed Percussion Bassoon,Clarinet,Double Bass,Trombone,Trumpet,Violin - Level 5 - SKU: A0.1435098 Composed by Stanley M Hoffman. 21st Century,Classical,...
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Mixed Percussion Bassoon,Clarinet,Double Bass,Trombone,Trumpet,Violin - Level 5 - SKU: A0.1435098 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. 240 pages. Stanleymhoffman.com #1015206. Published by stanleymhoffman.com (A0.1435098). Opera Scenes 1. At the Clothing Department (3:00); 2. To Get a Ration (9:00) - vocal soloists & piano or chamber ensemble (cl, bn, tpt, tbn, perc, vln, vc) with live or prerecorded crowd noise - 2021, 2024. The libretto is comprised of the insightful observations of a young Jewish boy—Abraham “Abramek” Koplowicz—who was trapped by the Nazis in the Lodz ghetto and who later died in Auschwitz. The libretto appears before each scene in the scores.This may be a relatively brief piece, but it is a major one for me and posthumously for the author. I am fortunate to be the only person given blanket gratis permission to set the words of Abraham Koplowicz to music. He composed a book of poetry, plays, and artwork while imprisoned in the Lodz Ghetto before perishing later in Auschwitz before he could become a Bar Mitzvah. The contents of that book are quite good, sophisticated for his age. Abraham's late half-brother, Eliezer Grynfeld—who found the book in the 1990s—and I eventually became good friends. The Pope once kissed Eliezer's hand. That is how highly regarded this collection is and, by some stroke of luck or fate, I have got exclusive musical rights to the book until it enters the public domain. In my settings of AT THE CLOTHING DEPARTMENT and TO GET A RATION, I combine the musical language of Schoenberg's A SURVIVOR FROM WARSAW very nearly with the instrumentation of Stravinsky's A SOLDIER'S TALE - only the percussion instruments differ. The musical language of these brief opera scenes is appropriately terse, very much in keeping with the oppressiveness of imprisonment. Please have a look and a listen. Thank you for your consideration. ---Words originally in Polish by Abraham (“Abramek”) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau) Translation by Sarah Lawson and Małgorzata Koraszewska Adapted by Stanley M. Hoffman Translation by Sarah Lawson and Małgorzata Koraszewska. © Copyright 1993 by Eliezer Grynfeld. All rights reserved. Used by permission of Eliezer Grynfeld. Adapted by permission of Sarah Lawson and Małgorzata Koraszewska. Libretto by Stanley M. Hoffman. Music by Stanley M. Hoffman. NotePerfomer 4 Audio and Scrolling Score Video Seeking Live Performances Music: © Copyright 2021, 2024 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)com All rights reserved.
$60.00 ≈
55.38€
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