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Time signatures: 12:8 and 4:4
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1
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Methodes
#
Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 1 - Eighths
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00 ≈
9.21€
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Chorale SATB
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INTERMÉDIAIRE
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 2 - Eighths
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Dots and Beams
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #47...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #4776187. Published by Dots and Beams (A0.931836). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00 ≈
9.21€
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
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Methodes
#
Nathan Petitpas - Dots and Bea
#
I encourage you to use both
#
Pitch and Rhythm - Treble Clef
#
Dots and Beams
#
SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00 ≈
9.21€
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Bass Clef, Diatonic (Sight Reading Exercise Book)
#
Methodes
#
Nathan Petitpas - Dots and Bea
#
I encourage you to use both
#
Pitch and Rhythm - Bass Clef,
#
Dots and Beams
#
SheetMusicPlus
Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Co...
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Large Ensemble Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Harpsichord,Horn,Marimba,Organ,Piano,Trombone,Tuba - SKU: A0.931833 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269061. Published by Dots and Beams (A0.931833). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a bass staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second e.
$10.00 ≈
9.21€
String Quartet - William and Mary
String Quartet - William and Mary
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Mike Strand, ASCAP <
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Mike Strand
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String Quartet - William and M
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Michael M. Strand
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.970731 Composed by Mike Strand. Contemporary,Jazz,World. Score and parts. 36 pages. Michael M. Strand ...
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String Quartet String Quartet - Level 5 - SKU: A0.970731 Composed by Mike Strand. Contemporary,Jazz,World. Score and parts. 36 pages. Michael M. Strand #4837117. Published by Michael M. Strand (A0.970731). By Mike Strand, ASCAP I wrote this String Quartet in a composition class at the College of William and Mary in 2010. It is brief and rich with variety, and it involves a technique of mine called fracturing (see note* below). This causes the dissonance you'll hear in parts of this work.On one occasion, when I felt stressed, I enjoyed listening to Morton Feldman's String Quartet II (1983), which lasts about 6 hours. This quiet but lovely music soothed and pacified me. On the other hand, if you want something to energize and alert you in less than 11 minutes, this quartet may be for you -- whenever you acquire a recording of it by some lucky quartet ensemble. Have a cup of coffee with it, for insurance!In the meantime, enjoy the audio sample, Movement I of my quartet. This alone may suffice to get you going, in only two and a half minutes. String Quartet - William and Mary: Four movements, total time 10:45: I. Allegro moderato (2:32) A tango-like dance movement: Preface, Introduction, A, B, A’, C, Coda (two variations). II. Lento (2:44) Counting to twenty in 5-4, 4-4, and 12-8 time. 5-4 time predominates (five groups of four measures each), then 4-4 (two groups of five measures each) and 12-8 (one group of five measures). Throughout there are 72 counts per minute, with quarter notes counted in the 5-4 and 4-4 time signatures, and with dotted quarter notes counted in the 12-8 time signature. The five measures of 12-8 also introduce the theme for movement III.Fun with three different time signatures! III. Allegro (2:11) Variations on a Scottish-like folk tune and fragments of it. One variation is an example of tonal pointillism. The closing measures are an extended coda based on a transformed version of the original tune. IV. Swing (3:18) West Coast swing tempo for the Introduction and Part A; triple swing tempo for Part B. Note* on the fracturing technique This is my method to produce systematically new types of dissonance and corresponding modifications and resolutions. Fracturing consists of changing pitches in a melody or chord as follows: (a) Decide on the root note position within the staff or line of music. (b) Represent the applicable chord in half-step notation, with the root given the value 0. (c) Alternatively subtract and add a prescribed number of half steps from, and to, each successive number in the annotated chord (except for the root). (d) Use the new fractured annotation to define the new pitches. The actual or implied root of the chord (tonal center) remains unchanged. The resulting new chord or melody is thus related or resolvable to the parent tonal harmony or chord. Fracturing appears mainly in the first and third movements, with spare use in the second and fourth movements.
$7.00 ≈
6.45€
Nocturne, Opus 37
Nocturne, Opus 37
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Piano seul
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INTERMÉDIAIRE
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David Pentecost
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Time signatures: 12:8 and 4:4
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Nocturne, Opus 37
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David Pentecost
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.895801 Composed by David Pentecost. Contemporary,Romantic Period. Score. 5 pages. David Pentecost #5024881. Published by ...
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Piano Solo - Level 3 - SKU: A0.895801 Composed by David Pentecost. Contemporary,Romantic Period. Score. 5 pages. David Pentecost #5024881. Published by David Pentecost (A0.895801). A sweet sounding Nocturne in four movements and in two different keys. Time signatures: 12:8 and 4:4. The last movement is based on the first movement, and it has a second voice added, for the right hand. 4 pages. Duration: 3½ minutes.
$3.99 ≈
3.67€
12 Piano Songs Later Intermediate Volume 3
12 Piano Songs Later Intermediate Volume 3
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Kathi Kerr
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12 Piano Songs Later Intermedi
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Melody Music Publishers
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.950583 Composed by Kathi Kerr. Instructional,Jazz,Pop,Romantic Period. Score. 29 pages. Melody Music Publishers #6516723....
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Piano Solo - Level 4 - SKU: A0.950583 Composed by Kathi Kerr. Instructional,Jazz,Pop,Romantic Period. Score. 29 pages. Melody Music Publishers #6516723. Published by Melody Music Publishers (A0.950583). Here are 12 original piano songs volume 3 for the late intermediate student and pianist that offer specific learning tools. Each song in this volume starts with a rundown from the composer, Kathi Kerr, on what is taught and what to watch for. Key signatures range from D, A, and F major and D minor. Rhythm includes whole, half, dotted half, quarter, and eighth notes and rests. Time signatures include 4/4, 3/4, 6/8, and 2/2 or cut time. If you're wanting to improve your reading and technique skills, these songs will do just that!
$8.99 ≈
8.28€
12 Piano Songs Later Intermediate Volume 1
12 Piano Songs Later Intermediate Volume 1
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Kathi Kerr
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12 Piano Songs Later Intermedi
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Melody Music Publishers
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.950577 Composed by Kathi Kerr. Instructional,Jazz,Pop,Romantic Period. Score. 27 pages. Melody Music Publishers #6516717....
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Piano Solo - Level 4 - SKU: A0.950577 Composed by Kathi Kerr. Instructional,Jazz,Pop,Romantic Period. Score. 27 pages. Melody Music Publishers #6516717. Published by Melody Music Publishers (A0.950577). Here are 12 original piano songs volume 1 for the late intermediate student and pianist that offer specific learning tools. Each song in this volume starts with a rundown from the composer, Kathi Kerr, on what is taught and what to watch for. Key signatures range from D, A, and F major and D minor. Rhythm includes whole, half, dotted half, quarter, and eighth notes and rests. Time signatures include 4/4, 3/4, 6/8, and 2/2 or cut time. If you're wanting to improve your reading and technique skills, these songs will do just that!
$8.99 ≈
8.28€
Korean Simple Suite No.3 "Happy Wedding" (For Clarinet and Piano)
Korean Simple Suite No.3 "Happy Wedding" (For Clarinet and Piano)
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Clarinette et Piano
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INTERMÉDIAIRE/AVANCÉ
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Han-Ki Kim
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 For Clarinet and Piano Op
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Korean Simple Suite No.3 "
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Han-Ki Kim
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SheetMusicPlus
Instrumental Duet,Piano B-Flat Clarinet,Instrumental Duet,Piano - Level 4 - SKU: A0.1303612 Composed by Han-Ki Kim. Classical,Instructional,Multicultura...
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Instrumental Duet,Piano B-Flat Clarinet,Instrumental Duet,Piano - Level 4 - SKU: A0.1303612 Composed by Han-Ki Kim. Classical,Instructional,Multicultural,Standards,Traditional,World. 35 pages. Han-Ki Kim #893186. Published by Han-Ki Kim (A0.1303612). “Korean Simple Suite†No.3  <Happy Wedding>  For Clarinet and Piano Op.273It consists of 5 movements in total, and all of them mainly used the traditional 5 notes of “Do,Re,Mi,Sol,Ra†in Korea as far as the melody is concerned. It shows the wedding ceremony of the bride and groom held in the traditional Korean front yard and the surrounding scenery. The original Music was composed for violin and was composed by the composer's own teacher, violinist  Dr. Walter Verdehr.1st mov. : The Front Yard: In F minor in 8/12 time, it is a short movement with a bright atmosphere. The Korean’s front yard is a friendly place for villagers' gatherings and events.2nd mov. : Yeonzi – Gonzi: In F major in 4/4 time. The meaning of “Yeonji Gonji†is the red dot on the cheeks and forehead of the bride in a Korean traditional wedding ceremony.3rd mov. : Joyful Dance: 3/4 time F minor, composed in ABA form, expressed the joy of dancing in Korea.4th mov. : Longing: In D minor in 6/4 time, tried to express the feeling of oriental waiting.5th mov. : The Bride and Groom: B minor, composed of 4/4 and 6/4 time signatures. Like the title The Groom and the Bride, it is composed in a rondo format that intersects the theme of liveliness and the theme of calm.Attached Music file is 1st mov. and recorded by Violin and Piano, it's just for a reference.
$14.90 ≈
13.72€
12 Easy Piano Pieces
12 Easy Piano Pieces
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Piano Facile
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DÉBUTANT
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Alejandro Martínez Mondragó
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12 Easy Piano Pieces
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Alejandro Martínez Mondragón
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SheetMusicPlus
Piano Solo, Easy Piano, Piano for begginers - Easy/Beginner - Composed by Alejandro Martínez Mondragón. Modern, Method, Etudes and Exercises, Repertoire...
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Piano Solo, Easy Piano, Piano for begginers - Easy/Beginner - Composed by Alejandro Martínez Mondragón. Modern, Method, Etudes and Exercises, Repertoire, Children's Music. 13 pages. Published by Alejandro Martínez Mondragón
This collection of pieces are intended for beginners as they use only the first five notes of each scale they are written in. The fingers are static so there is no displacement of the hand. The collection consists of 6 major and 6 minor pieces. There are 6 pieces in 4/4 and 6 pieces in 6/8 time signatures to bring variety to the player. These pieces also serve as sight reading exercises for advanced students. The pieces really work well for repertoire.
$3.99 ≈
3.67€
Ragtime Miniatures for Two Flutes - Set 2
Ragtime Miniatures for Two Flutes - Set 2
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2 Flûtes traversières (duo)
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INTERMÉDIAIRE
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Ragtime
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Pat Holmberg
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Ragtime Miniatures for Two Flu
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Patricia Tanttila Holmberg
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SheetMusicPlus
Flute - Intermediate - Composed by Pat Holmberg. 21st Century, Ragtime, Repertoire. Score. 24 pages. Published by Patricia Tanttila Holmberg ...
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Flute - Intermediate - Composed by Pat Holmberg. 21st Century, Ragtime, Repertoire. Score. 24 pages. Published by Patricia Tanttila Holmberg
Here are fourteen ragtime style flute duets - very contrapuntal - equally challenging and fun in both parts - sure to help teenage flute students keep on with their lessons! Below, find some reviews by flute teachers:Here are some reviews for these duets from flute teachers: ByDr. Mom on November 19, 2013 As a flute teacher, I watch for new and interesting music for my students. These Rags are terrific! They are harmonically and musically interesting, introduce a style to the students with which they may be unfamiliar yet has a "jazzy" feel, and are simple enough in range, rhythm and length (they're relatively brief) to be approachable to the intermediate student - a level at which one often needs interesting music to keep them going! - and above. I had one student who is versed in jazz (plays jazz trumpet) who tried to swing these, so I had the opportunity to work with him on how Rags differ from "swung" jazz, which was kind of fun. I feel these duets fill a need in the modern flute studio, and recommend them highly. Something to Rag about - for students & performers a-like! By Em on November 16, 2013 This 12-piece book is a delightful introduction to ragtime for flutists, who usually don't get the chance to play much jazz or "rag" music. What I perhaps enjoy most about the book is, the 2nd flute part has many chances for nice melodic interplay or fun walking bass lines to accompany the 1st flute. (Unlike many duet books that have a rather stagnant bass line for the 2nd flute/accompaniment.) If you are playing with students who are new to the territory, it is a great book to have them develop an ear for jazz chords. You'll need to review how to swing eighths, since that isn't covered here --it's for Intermediate players after all :). The lines should not be incredibly challenging though, and it is presented in such a way that whether up or down tempo, it's still fun to play. I did like playing most of the pieces up-tempo, though! My top favorite pieces are #5- "Forget-Me-Not", #6 - "Cotton Candy Rag", #11 - "High Country Stomp" (it's nice got a nice lilting feel) and #12- "Green Mountain Saunter." There is a great variety, and each piece has a memorable melody. Grab a flutist friend and play these! If you like to have up-beat and playful tunes (especially during these cold winter months) these will warm you up real fast. Hi Patricia,The Ragtime Miniatures for Two Flutes ? Set 1 Intermediate by Patricia Holmberg lends itself to development in rhythmic and reading skills. It offers studies of syncopated rhythms in 4/4 and 12/8. The 12/8 duets support improvement in the student?s triple feel. Also, the changes in meter challenge and support the enhanced reading skills of the student. Furthermore, the chromatic tones offer stylistic colors to the student?s assortment of fingering patterns. Students using the book had a positive response to the melodic content: it was fun to play?a breath of fresh air.Thank you for bringing your book to my attention. We await set two. Phyllis G. Ragtime Miniatures- Intermediate By Jean A. E. on November 7, 2013 This is Intermediate level music, it can satisfy several levels of players, and altho rags come over stylistically the same , these are varied enough . Except for mostly using flat key signatures, and having some confusion in finding your way around repeats and da capos, these are pleasant little works, some of which would make nice concert encores. The only feature I as a performer corrected when my friend and I played them thru was to 8 va some of the too low 2nd parts. Doing this seemed to improve the voicing.So In general, nice work,Pat!!Professional Flutist/ performer Jean A. "Back to School 2015".
$9.99 ≈
9.20€
Chorale, Fantasia and March
Chorale, Fantasia and March
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Orchestre d'harmonie
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INTERMÉDIAIRE
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S
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Chorale, Fantasia and March
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S.R.T. Music
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SheetMusicPlus
Concert Band Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bassoon,Drum Set,Flute,Horn,Oboe,Percussion,Tenor Saxophone,Trombone,Trumpet,Tuba,Xylophone - Level...
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Concert Band Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bassoon,Drum Set,Flute,Horn,Oboe,Percussion,Tenor Saxophone,Trombone,Trumpet,Tuba,Xylophone - Level 3 - Interactive Download SKU: A0.1075100 Composed by S.R. Thomas. This edition: Interactive Download. Contest. Score and parts. 41 pages. Duration 246. S.R.T. Music #3zA1XG8rlbtX5sSIG9nq2I. Published by S.R.T. Music (A0.1075100). Key: Eb major.“Chorale, Fantasia and March†is a composition written for medium to medium advanced wind and percussion ensembles. The music is written in Eb concert using Dorian and Ionian modes while using both 4/4 and 12/8 time signatures. The composition should challenge the ensemble with a myriad of musical styles.
$24.95 ≈
22.97€
Times of Change
Times of Change
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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AVANCÉ
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Contemporain
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Lisa Lenke Sousa
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Times of Change
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Lisa Lenke Sousa
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 5 - SKU: A0.979556 Composed by Lisa Lenke Sousa. 20th Century,Concert,Contemporary. Score and parts. 12 pag...
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Brass Ensemble Horn,Trombone,Trumpet - Level 5 - SKU: A0.979556 Composed by Lisa Lenke Sousa. 20th Century,Concert,Contemporary. Score and parts. 12 pages. Lisa Lenke Sousa #6201007. Published by Lisa Lenke Sousa (A0.979556). Originally in 1993 and revised for a brass trio in 2020, Times of Change is an advanced work that involves a combination of different time signatures. These times signatures include those of 10/8, 3/8, 4/4, 3/4, 7/8, and 5/8. Times of Change is 1 minute and 57 seconds long and is an excellent edition as a recital or concert piece.
$8.58 ≈
7.90€
Springtime
Springtime
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Benjamin Amos
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Springtime
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Benjamin Amos
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1012016 Composed by Benjamin Amos. Contemporary. Score. 8 pages. Benjamin Amos #3531933. Published by Benjamin Amos (A0.1...
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Piano Solo - Level 4 - SKU: A0.1012016 Composed by Benjamin Amos. Contemporary. Score. 8 pages. Benjamin Amos #3531933. Published by Benjamin Amos (A0.1012016). Springtime is a bright and optimistic piece that makes me smile every time I play it. Written in a very loosely defined A-B-A form, Springtime has a beautiful reoccurring theme of gratefulness which F# Major sings out to its fullest. A great piece for performance and for fun! With very few accidentals, the music score is challenging but mostly straight forward within the time signature: the biggest challenges are mainly overcoming the key of F# Major and the occasional variations in time signature. Springtime is 8 pages and about 3 minutes played up to tempo. A few additional musical theory notes to mention: Springtime is written in 6/8 (and 4/4 during the B section) for most of the piece; however, rhythmical variations in beat also occur throughout the piece which add neat additional layers-- specifically, time signatures 10/8 (grouped 123 123 12 12 etc.) and 8/8 (grouped 123 123 12 etc.).
$1.99 ≈
1.83€
Halo
Halo
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Orchestre à Cordes
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INTERMÉDIAIRE
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Martin O'donnell
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Sasha Hennings
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Halo
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Xess
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.1391700 Composed by Martin O'donnell. Arranged by Sasha Hennings. 21st Century,Video Game. 13 pages. Xess #975216. ...
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String Orchestra - Level 3 - SKU: A0.1391700 Composed by Martin O'donnell. Arranged by Sasha Hennings. 21st Century,Video Game. 13 pages. Xess #975216. Published by Xess (A0.1391700). This piece, originally created by Martin O'donnel, is an arrangement for a string orchestra in which it gives each player an equal amount of challenging and fun portions to play through. There are many callbacks to main themes within the piece, such as the low bass notes repeating throughout, and the violin/viola whole notes to wrap it all together. Using the two time signatures in the arrangement, 4/4 and 12/8, the audience will get an accurate feel for how exciting and suspenseful the music can be. In the 12/8 sections, there is a sense of being pushed along by the sound, but in the 4/4 beginning and end, the song is slower and more melodic as it ties everything together like bindings to a book.
$59.99 ≈
55.24€
O Holy Night (String Orchestra)
O Holy Night (String Orchestra)
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Orchestre à Cordes
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INTERMÉDIAIRE
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Noël
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Adolphe-Charles Adam
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Tim Crooks
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O Holy Night
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STR:UK String Arrangements
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.850377 Composed by Adolphe-Charles Adam. Arranged by Tim Crooks. Christian,Christmas,Pop. Score and parts. 30 pages...
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String Orchestra - Level 3 - SKU: A0.850377 Composed by Adolphe-Charles Adam. Arranged by Tim Crooks. Christian,Christmas,Pop. Score and parts. 30 pages. STR:UK String Arrangements #6588511. Published by STR:UK String Arrangements (A0.850377). O Holy Night, arranged by Tim Crooks for String Orchestra (ABRSM Beginner - grade 6). Technical challenges include 12/8 and 6/8 time signatures and key of Eb meaning the main parts are best suited to ABRSM Grade 4+ standard players. The arrangement can be mostly played in first position, occasionally requiring 3rd position with an optional 8ve passage in first violins to a top Bb. The arrangement also includes an easy part for Violin & Viola suitable for grade 1-2 level. A piano part is included but is not needed for performance.A version of this arrangement for String Quartet is also available here:S0.1122215This recording is of the Quartet Version, by the Manchester String Quartet. Available for streaming and download, www.manchesterstringquartet.com About the arranger Tim Crooks trained as a violinist and violist, working professionally in Manchester (UK) for many years. He was a founding member of the Manchester String Quartet and scored many arrangements for the group's recordings. Tim now orchestrates and conducts, working with orchestras including Manchester Camerata, Royal Liverpool Philharmonic, RTÉ Concert Orchestra and the Philharmonia. STR:UK STRINGS - Education String Music, made in the UK We'd love to hear your feedback: strukstrings@gmail.com Subscribe to our social media to get news of all new releases: https://www.facebook.com/strukstrings https://twitter.com/strukstrings STR:UK Strings - Education String Music ©2021 S T Crooks Ltd All Rights Reserved
$24.99 ≈
23.01€
The Twelve Days of Christmas (Easy Cello Solo with Piano Accompaniment)
The Twelve Days of Christmas (Easy Cello Solo with Piano Accompaniment)
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Violoncelle, Piano
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FACILE
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Noël
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Sharon Wilson
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Sharon Wilson
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The Twelve Days of Christmas
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Sharon Wilson
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SheetMusicPlus
Cello,Piano - Level 2 - SKU: A0.565498 By Sharon Wilson. By Traditional. Arranged by Sharon Wilson. Children,Christmas,Folk,Multicultural,Standards,Worl...
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Cello,Piano - Level 2 - SKU: A0.565498 By Sharon Wilson. By Traditional. Arranged by Sharon Wilson. Children,Christmas,Folk,Multicultural,Standards,World. Score and part. 8 pages. Sharon Wilson #4638877. Published by Sharon Wilson (A0.565498). Here is a straight-forward instrumental duet arrangement (for CELLO solo with PIANO accompaniment) of the holiday classic The Twelve Days of Christmas.The CELLO leads with the melody throughout the song. All notes for the CELLO are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. A little extra practice may be required to master the occasional switching between 3/4 and 4/4 time signatures. Also, the repeats for Days 7 through 12 require concentration on counting down the days.The purchase price includes a 5-page combined score with both CELLO and PIANO parts on each page plus a separate 1-staff score for the CELLO solo (2 pages). This arrangement is one of the 10 songs in the collection Holiday Classics (A Collection of 10 Easy Cello Solos with Piano Accompaniment).Visit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$4.99 ≈
4.59€
Sinusoïd 2
Sinusoïd 2
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Piano seul
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Classique
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J
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Sinusoïd 2
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J. Randolph Hall
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SheetMusicPlus
Piano and Keyboard - Interactive Download SKU: A0.482450 Composed by J. Randolph Hall. This edition: Interactive Download. Classical. Worksheet. 2 pages....
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Piano and Keyboard - Interactive Download SKU: A0.482450 Composed by J. Randolph Hall. This edition: Interactive Download. Classical. Worksheet. 2 pages. Duration 55. Published by J. Randolph Hall (A0.482450). Let n=number of notes, s=number of notes in the cycle, B=the number of beats per cycle, t=type of subdivision, b=number of top time signature, and c=cycles within a measure. Thus, s=4n-4, B=s/t, and c=b/B.-------------------------------------------------------- Red - the 0° and 180° of the cycle. Blue - the crest of the wave or 90°. Orange - the trough of the wave or 270° ---------------------------------------------------------- Where b=4 (4 beats per measure), n=2 in measure 1, 3 in measure 6, 4 in measure 11, and 5 in measure 17. Then, s = 4 for the 2 note, 8 for the 3 note, 12 for the 4 note and 16 for the 5 note. Other time signatures, as long as the quarter note gets the beat/count, can apply the formulas above to obtain c while s and B should remain the same.
$5.00 ≈
4.60€
Walk Among The Gods
Walk Among The Gods
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Kevin Price
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Walk Among The Gods
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Kevin Price
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.965600 Composed by Kevin Price. 20th Century,Classical,Contemporary. Score and parts. 61 pages. Kevin Price #624647...
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String Orchestra - Level 4 - SKU: A0.965600 Composed by Kevin Price. 20th Century,Classical,Contemporary. Score and parts. 61 pages. Kevin Price #6246479. Published by Kevin Price (A0.965600). I would like to present my first string orchestra, Walk Among The Gods. It includes a director's score, as well as individual parts for Violin I, Violin II, Viola, Violoncello, and Contrabass. This composition is centered around Greek Mythology by highlighting a different character in each movement; Aphrodite, Hades, Kronos and Zeus.Aphrodite: Dance With The Goddess of Love is written as a Polonaise (Polish dance) in a Rondo format. This movement is taken at an Andante.Hades: March to the Underworld is a haunting march written in G minor. I composed this in cut time at an Allegro Moderato. This is definitely my favorite of all four movements. Kronos: The God of Time is comprised of many different time signatures to go along with its meaning; 5/4, 6/8, 12/8, 4/4, 6/4, 3/8 and 3/4. Zeus: King of the Gods is meant to create a regal, but triumphant feel as the finale. I also had fun writing a good portion of this movement pizzicato. Enjoy!
$9.99 ≈
9.20€
At Waneka Lake
At Waneka Lake
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Harumi Shiraishi
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At Waneka Lake
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Harumi Shiraishi
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1024651 Composed by Harumi Shiraishi. Concert,Romantic Period,Standards. Score. 4 pages. Harumi Shiraishi #3411967. Publi...
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Piano Solo - Level 4 - SKU: A0.1024651 Composed by Harumi Shiraishi. Concert,Romantic Period,Standards. Score. 4 pages. Harumi Shiraishi #3411967. Published by Harumi Shiraishi (A0.1024651). Overall in ternary form (A-B-A). There are time signatures of 9/8, 12/8. The key signatures are G major, E major, D flat major, and E flat major. The beginning of the middle section is unmeasured.
$5.00 ≈
4.60€
40 Drumset Solo - playing drums at the music school
40 Drumset Solo - playing drums at the music school
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Batterie
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DÉBUTANT
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Béla Ugró
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40 Drumset Solo - playing drum
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Bela Ugro
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SheetMusicPlus
Drum Set,Drums - Level 1 - SKU: A0.1422722 Composed by Béla Ugró. Children,Contemporary,March,Standards,Traditional. Score. 45 pages. Bela Ugro #10040...
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Drum Set,Drums - Level 1 - SKU: A0.1422722 Composed by Béla Ugró. Children,Contemporary,March,Standards,Traditional. Score. 45 pages. Bela Ugro #1004073. Published by Bela Ugro (A0.1422722). 40 Drumset Solo - playing drums at the music school is a dynamic and diverse collection of drum solos crafted by the renowned composer Béla Ugró. Perfect for students and drum enthusiasts, this 45-page sheet music offers a comprehensive exploration of various styles and rhythms, providing an exciting challenge for aspiring drummers.Key Features:Experience a range of musical genres from Pop-Rock to Blues, Jazz, Funk, Latin, and more.Each solo is meticulously composed to enhance technical skills and creativity.Explore different time signatures including 4/4, 12/8, 6/8, 5/8, 7/8, 3/4, and more.Dive into energetic and upbeat rhythms with Samba, Bossa Nova, Reggae, and Latin Rock solos.Feel the groove with Blues, Shuffle, Rhythm and Blues, and Jazz Blues solos.Rock out with Heavy Metal, Rock, and Rock n’ roll solos that vary in style and tempo.Get funky with Funky, Latin-Funky, and Hip-Hop solos that bring a fresh vibe to your drumming.Each solo is a musical journey, allowing drummers to showcase their skills and musical interpretation.Whether you're practicing in a music school setting or preparing for a performance, 40 Drumset Solo provides an extensive 45-page repertoire that will keep drummers engaged and inspired. Challenge yourself with these diverse and exciting drum solos, and elevate your drumming to new heights.Keywords:Drumset solosBéla Ugró compositionsMusic school drummingDrumming styles explorationPercussion educationDrum sheet musicRhythmic challengesDiverse drum solosMusical genresTechnical drumming.
$14.00 ≈
12.89€
Pinball Number Count
Pinball Number Count
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Ensemble Jazz
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INTERMÉDIAIRE/AVANCÉ
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Sesame Street
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Phil Kan
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Pinball Number Count
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Phil Kan
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.1283152 By Sesame Street. By Walt Kraemer. Arranged by Phil Kan. Film/TV,Funk,Jazz. Score and Parts. 45 ...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.1283152 By Sesame Street. By Walt Kraemer. Arranged by Phil Kan. Film/TV,Funk,Jazz. Score and Parts. 45 pages. Phil Kan #874442. Published by Phil Kan (A0.1283152). The Pinball Number Count song (1-2-3-4-5, 6-7-8-9-10, 11-12!) from Sesame Street, arranged for 5-4-4-4 Big Band. It's a fun and challenging tune, with changing time signatures. The open soloing section has backings for saxes & trombones, to be played as directed. This arrangement is suitable for an intermediate to advanced ensemble.Check out my other arrangements for Big Band, and feel free to contact me at pitdadphil@gmail.com for any questions, corrections, or alternatives. I hope you enjoy playing this as much as I did arranging it!
$59.99 ≈
55.24€
A Quiet Summer Night
A Quiet Summer Night
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Samuel Livingston
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A Quiet Summer Night
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Imagine Music - Digital
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SheetMusicPlus
Clarinet & string quartet - SKU: IZ.CMF183 Composed by Samuel Livingston. Score and Parts. 88 pages. Imagine Music - Digital #CMF183. Published by Imagi...
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Clarinet & string quartet - SKU: IZ.CMF183 Composed by Samuel Livingston. Score and Parts. 88 pages. Imagine Music - Digital #CMF183. Published by Imagine Music - Digital (IZ.CMF183). 9 x 12 in inches.The clarinet is my instrument, and I think the two greatest works in its repertory (and two of the greatest of all chamber works) are the quintets for clarinet and strings by Mozart and Brahms. In writing for this combination of instruments, I borrowed ideas shamelessly from both.I would describe the style as folk-inspired classical chamber music. The melodies are song-like or dance-like; the harmonies are simple, modal, and consonant. The time signatures of the three movements are 7/8, 5/4, 7/8 - unusual in classical music but common in the folk music of some eastern European countries. The texture is homophonic in some places and contrapuntal in others, always with at least one melody, often with more than one. The clarinet is not treated as a solo instrument but is integrated into the ensemble.The first movement is in sonata form. As in the Mozart and Brahms quintets, it begins in the strings, with the clarinet entering a few bars later on a rising arpeggio. The first theme is song-like; the second theme is dance like. The movement ends quietly on a phrase from the second theme. The form of the second movement begins with a song for the cello, repeated in the clarinet. The next section features a dance-like melody in the second violin, repeated in the clarinet with a descant in the first violin. Then a brief section in the minor, featuring the viola, leads to a repetition of the song that opened the movement, this time in the viola, repeated in the violins and the clarinet.The third movement is a set of variations on a brisk, dance-like theme. After several variations, including two in the minor mode, the tempo slows to adagio for the next-to-last variation (as in the last movement of the Mozart quintet). That variation features a duet for the first violin and the clarinet (as in the slow movement ofthe Brahms quintet). The final variation returns to the brisk tempo and brings back the melodic figure that ends the first movement. A brief coda on this melodic figure concludes the piece.
$48.00 ≈
44.20€
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Time signatures: 12:8 and 4:4
