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Vous avez sélectionné:
Try Losing One
Partitions à imprimer
45 partitions trouvées
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26
Busy Tone
Busy Tone
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Trombone et Piano
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INTERMÉDIAIRE/AVANCÉ
#
Contemporain
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Hayden Woods
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Busy Tone
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Hayden Lee Woods
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SheetMusicPlus
Piano,Trombone - Level 4 - SKU: A0.901482 Composed by Hayden Woods. 20th Century. Score and part. 10 pages. Hayden Lee Woods #5707383. Published by Hayd...
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Piano,Trombone - Level 4 - SKU: A0.901482 Composed by Hayden Woods. 20th Century. Score and part. 10 pages. Hayden Lee Woods #5707383. Published by Hayden Lee Woods (A0.901482). Original trombone solo by Hayden WoodsWhat do you do when you try calling for something dire that must be addressed and the phones are backed up for hours...and hours...with no end in sight? Other than losing patience (which you should never lose), going crazy might be the next step. Hearing the busy tone over-and-over again as it pounds your brain into a mushed pile of misfiring neurons with a side of bloodshot eyes from straining to keep conscious. This 12-tone project enamors the mind with blips of melody, sprinkled over the piano’s endless E-flats that simulate the pain of trying to get past the busy tone. It’s short and to the point on the premise and only takes the 80 seconds (ish, it’s up to you how fast/slow dial tones make you feel) to drive the sanity down.
$8.99 ≈
8.31€
Try Losing One
Try Losing One
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Piano Facile
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FACILE
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Country
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Adam Wood, Brian Wayne Davis,
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Jerome Stokes
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Try Losing One
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Jerome Stokes
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SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.612697 Composed by Adam Wood, Brian Wayne Davis, Joseph Brian Davis, and Tyler Braden. Arranged by Jerome Stokes. Country...
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Easy Piano - Level 2 - SKU: A0.612697 Composed by Adam Wood, Brian Wayne Davis, Joseph Brian Davis, and Tyler Braden. Arranged by Jerome Stokes. Country,Pop. Score. 3 pages. Jerome Stokes #221888. Published by Jerome Stokes (A0.612697). Try Losing One is a soulful lament by one who has lost the love of his life, and is expressing how gut wrenching his feeling is. The words are compelling and the gentle flow of the music builds into a crescendo, just as your emotions will when hearing this song. This arrangement is intended for the solo artist or small ensemble of musicians. It includes the piano score and lyrics. The key and tempo are same as the original artist recording. You can watch and listen to the music video by Tyler Braden at the link provided.
$4.99 ≈
4.61€
Bach: Toccata & Fugue, BWV 565 for Saxophone Quintet
Bach: Toccata & Fugue, BWV 565 for Saxophone Quintet
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Quintette de Saxophone: 5 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Johann Sebastian Bach
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James M
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Bach: Toccata & Fugue, BWV
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jmsgu3
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SheetMusicPlus
Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.1474154 Compo...
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Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.1474154 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Halloween,Historic,Standards. 49 pages. Jmsgu3 #1051783. Published by jmsgu3 (A0.1474154). The Toccata and Fugue in D Minor, BWV 565, is one of Johann Sebastian Bach's most famous organ compositions. It follows a typical North German structure with three main sections - a free opening (toccata), a fugal section (fugue), and a short free closing section. The exact date of composition is uncertain, but it's believed to have been written before 1708. There is no surviving autograph manuscript. The oldest known source is an undated copy by Johannes Ringk, a student of one of Bach's pupils. It was first published in 1833 through the efforts of composer Felix Mendelssohn during the early Bach Revival period. It gained widespread recognition after being featured in Disney's 1940 film Fantasia, which Leopold Stokowski adapted for orchestra. The piece has become strongly associated with horror films and Gothic imagery in Western culture. The Toccata begins with dramatic flourishes and arpeggios, showcasing the organist's virtuosity. The fugue is characterized by overlapping repetitions of the central theme in different melodic lines. It employs simple triadic harmony but includes some unexpected elements, such as a C minor subject entry and a solo pedal statement.
$49.95 ≈
46.18€
Schone Maid
Schone Maid
#
Johannes Jacobus Botha
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Schone Maid
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Peet du Toit
#
SheetMusicPlus
Clarinet,Drum Set,Euphonium,Hand Percussion,Horn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1415311 Composed by Johannes Jacobus Botha. Arranged by Jack ...
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Clarinet,Drum Set,Euphonium,Hand Percussion,Horn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1415311 Composed by Johannes Jacobus Botha. Arranged by Jack White (Composer), Jean Trèves (Arranger), Peet du Toit (Orchestrator). Folk. 22 pages. Peet du Toit #997046. Published by Peet du Toit (A0.1415311). Jack White (born Horst Nußbaum, 2 September 1940) is a German composer, producer and former footballer.Born in Cologne, White developed an interest in both football and music in his childhood, but initially chose footballing as a career. He played professionally for six years, then chose to play at an amateur level while pursuing a career in music. White began as a singer in his native Germany in the late 1960s, and found local success performing at bars. At the same time, White also began to produce and write music for other German musicians, and had his first hit, Schöne Maid, sung by Tony Marshall, in 1971.His work was popular in his native country and other German-speaking nations, but the majority of his success came from his production work on international records.This brilliant arrangement of Schöne Maid inspired me to orchestrate it for a smaller group, without losing too much of the power of a larger settting. Enjoy with me, please.
$21.00 ≈
19.41€
After You’ve Gone
After You’ve Gone
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Ensemble de cuivres
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INTERMÉDIAIRE/AVANCÉ
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Turner Layton
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F
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After You’ve Gone
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Sweetwater Brass Press
#
SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.808682 Composed by Turner Layton (1894-1978), Henry Creamer (1879-1930). Arranged by F. Leslie Smith. Holiday,Jazz,Po...
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Brass Ensemble - Level 4 - SKU: A0.808682 Composed by Turner Layton (1894-1978), Henry Creamer (1879-1930). Arranged by F. Leslie Smith. Holiday,Jazz,Pop. Score and parts. 32 pages. Sweetwater Brass Press #3454039. Published by Sweetwater Brass Press (A0.808682).     After You’ve Gone, composed in 1918 by Turner Layton (melody) and Henry Creamer (lyrics), was a hit from the beginning. Al Jolson introduced it to live audiences, Marion Harris’ record went to #1 in early 1919, and since then dozens of artists have recorded it . . . and many are still doing so. The words are rather sad-she’s leaving and he’s trying to get her to stay-but played up tempo, the melody is bouncy and fun. That sad-versus-happy dichotomy is incorporated in this arrangement. It begins with a bright, bouncy introduction and first-time-through of the chorus, then slows so the Horn in F can play a melancholic and somewhat schmaltzy rendition of the verse. The Tuba provides a transition back to the upbeat chorus, and we are again off to the races. Layton’s melody slips and slides from one instrument to the next (with the Tuba getting an entire iteration all to itself!), until the pace again slows for a 4-bar reminder of the sentimental verse, which then gives way to a rousing Dixieland-like closing.
$7.95 ≈
7.35€
Coventry Carol
Coventry Carol
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Piano seul
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INTERMÉDIAIRE
#
Jeff Bjorck
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Jeff Bjorck
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Coventry Carol
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Pure Piano Music by Jeff Bjorck
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1315131 By Jeff Bjorck. By Traditional. Arranged by Jeff Bjorck. Christian,Christmas,Classical,Religious,Traditional. Sco...
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Piano Solo - Level 3 - SKU: A0.1315131 By Jeff Bjorck. By Traditional. Arranged by Jeff Bjorck. Christian,Christmas,Classical,Religious,Traditional. Score. 4 pages. Pure Piano Music by Jeff Bjorck #903874. Published by Pure Piano Music by Jeff Bjorck (A0.1315131). Jeff Bjorck's original solo piano arrangement of this age-old Christmas carol appears on his album/CD The Wondrous Gift: A Pure Piano Christmas. This carol is actually a lamenting lullaby for the infants killed when Herod tried to destroy Jesus. Thus, Bjorck changes the major chord traditionally closing each verse to minor in tribute to “Rachel weeping for her children, refusing to be comforted†(Matthew 2: 18)—and to honor to everyone who remembers departed loved ones at Christmas.
$5.50 ≈
5.08€
His Memory
His Memory
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Violon et Piano
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INTERMÉDIAIRE/AVANCÉ
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Robert Daniel
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His Memory
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RDMusicStudios
#
SheetMusicPlus
Piano,Violin - Level 4 - SKU: A0.1261681 Composed by Robert Daniel. Broadway,Classical,Film/TV,Musical/Show. 25 pages. RDMusicStudios #854759. Published...
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Piano,Violin - Level 4 - SKU: A0.1261681 Composed by Robert Daniel. Broadway,Classical,Film/TV,Musical/Show. 25 pages. RDMusicStudios #854759. Published by RDMusicStudios (A0.1261681). On April 19, 2019, I started writing my first composition, His Memory, on my first album, Show Your Pride. The Show Your Pride album was influenced by my best friend, Nigel Shelby, who tragically passed away by suicide after experiencing bullying for being outed as gay. It has been a few years since his death turned a national spotlight on the issue of LGBTQIA+ mental health and bullying. He was 15 years old at the time of his passing. I feel like I've been stabbed in the heart when I found he was gone. It was the first time I had lost anybody that I was close to. I was in a lot of pain at the time. Losing my best friend is one of the most difficult and heartbreaking experiences I have had in my life. This album is telling a coming-out story about a bisexual musician going on a self-discovery journey to find his true authentic self. I first met Nigel in mid-2018 when I was nervous, struggling with depression, and coming out as bisexual, so I gathered enough strength and confidence to come out to him. He's very kind and supportive of me. He was brave enough to come out to me as well. He has been a really good friend and my spirit guide as long as I've known him. He was understanding, thoughtful, and had a maturity about him that I admired. I feel happy and honored to have known him and had the best friends with him. I truly believe he is watching over me every day. In this inspirational, heartbreaking piece, His Memory, I will share a coming-out story about two boys who came out to each other, spending their friendship together until one of them passes away. This piece is based on a true story of how I coped with grief, dealing with depression about my best friend's passing, and how I found happiness within myself after his memorial service. It drew inspiration from many compositions and soundtracks, including Where The Sky Has No Stars by Katahj Copley, Lose You Now by Lindsey Stirling (feat. Mako), You Will Be Found from Dear Evan Hansen by Benj Pasek & Justin Paul, April Sky by Lin Chin Cheng, and Avatar The Last Airbender by Jeremy Zuckerman. These compositions I mentioned express hope and spark memories of lost loved ones. This piece is in 3 Acts: Friendship, I Lost You. and His Memory Lives On. Each one was inspired by actual events. Act I: Friendship Act II: I Lost You Act III: His Memory Lives On While you are listening to this piece, I want you to think about someone you love who is no longer with you. If you're one of those people who lost someone special to you, I am so sorry for your loss. Just know that you are not alone. Don't try to run and hide from your grief. Whatever your grief experience, it's important to be patient with yourself and allow the process to naturally unfold. You will grieve for as long as you need to, but you are a strong person and will find your way through this. Life is so precious. Cherish every moment with your loved ones. Coming out is one of the most difficult things a person can do, but if you are having difficulty or are unsure about it, just know that there are people out there who do love you for who you are. Learn to embrace your authentic self. Don't let your sexual orientation define who you are. The right people will accept you and those are the only people who matter. Be yourself, be happy, and do what you feel. Don't care so much about what others think and enjoy your life! Keep following your heart and don't be afraid to stand out!
$24.00 ≈
22.19€
Vow to Thee, My Country (Wind Quintet)
Vow to Thee, My Country (Wind Quintet)
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Contemporain
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Gustav Holst
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G L Harvey
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Vow to Thee, My Country
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G L Harvey
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 4 - SKU: A0.805826 Composed by Gustav Holst. Arranged by G L Harvey. 20th Century,Concert,Contemporary,Patrio...
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Woodwind Ensemble,Woodwind Quintet - Level 4 - SKU: A0.805826 Composed by Gustav Holst. Arranged by G L Harvey. 20th Century,Concert,Contemporary,Patriotic,Sacred. 16 pages. G L Harvey #4413879. Published by G L Harvey (A0.805826). This rousing, stately and reflective piece of music has been arranged for standard wind quintet, with substitute options for horn in F (tenor horn, tenor saxophone) and bassoon (bass clarinet). With concerts and memorial performances in mind, this arrangement is popular with players and audiences alike. After an expressive opening, the melody moves around the ensemble, exploiting interesting changes in time signature and texture, gradually leading to a final climax and closing flourish. The difficulty level is about ABRSM grade 5-6. The PDF is 16 pages in length (portrait A4) and includes a full score and parts for Flute, Oboe, Clarinet, Horn in F & Bassoon, plus extra parts already mentioned. The duration of the piece is 2 minutes 45 seconds.
$15.99 ≈
14.78€
Psalm 78:9 - 2017 Choral Contest Entry
Psalm 78:9 - 2017 Choral Contest Entry
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Chorale SATB
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Zach Wells
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Zach Wells
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Psalm 78:9 - 2017 Choral Conte
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Zach Wells
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SheetMusicPlus
Choral Choir (SATB divisi) - SKU: A0.1027930 Composed by Zach Wells. Arranged by Zach Wells. Christian,Contemporary,Sacred. Octavo. 3 pages. Zach Wells ...
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Choral Choir (SATB divisi) - SKU: A0.1027930 Composed by Zach Wells. Arranged by Zach Wells. Christian,Contemporary,Sacred. Octavo. 3 pages. Zach Wells #3094003. Published by Zach Wells (A0.1027930). Translated to English from Latin, Adiuva nos Deus salutaris noster meansHelp us, O God, our Savior. When writing this piece, I hoped to capture the full spectrum of realized helplessness. We start with an almost methodical melancholy, repeated with additional tones. Next, the diminished chords and misaligned text paint a picture of a disenfranchised group, together longing for the same relief. In a frenzied turnaround, the music climbs to a diatonic apex, immediately drifting back to the familiar tonality of the top of the piece, and closing with a dark, mistrusting 'Amen'. Take time with the fermatas and ritards, and really lean into the dynamics of this short, dramatic composition. - Zach WellsZach Wells lives in Dallas, Texas, where he is an Associate Director of Music at Preston Hollow Presbyterian Church. There, he directs the youth choir and youth band, and leads a new, Sunday night alternative worship service.
$3.99 ≈
3.69€
Dhamma Gemstones for SATB Chorus and Piano on Verses from the Pali Canon
Dhamma Gemstones for SATB Chorus and Piano on Verses from the Pali Canon
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Chorale SATB
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INTERMÉDIAIRE
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Richard St
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Dhamma Gemstones for SATB Chor
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Richard St. Clair
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.939812 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 10 pages. Richard St. Clair #4758443. P...
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Choral Choir (SATB) - Level 3 - SKU: A0.939812 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 10 pages. Richard St. Clair #4758443. Published by Richard St. Clair (A0.939812). This 2'15 anthem in G Minor using poetry from the ancient Pali Buddhist Canon is deeply introspective music. The mood is serious, rising from a steady pulsing piano solo which continues to pulsate throughout, with voices entering in canon starting with the Bass, then Treble, Alto and finally Soprano, culminating in full chorus, in a powerful climax, closing peacefully and quietly. Pali is similar to Sanskrit. Thus the score includes the Pali lyrics with English translation.
$4.50 ≈
4.16€
Vow to Thee, My Country (Brass Band)
Vow to Thee, My Country (Brass Band)
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Gustav Holst
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G L Harvey
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Vow to Thee, My Country
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G L Harvey
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.805822 Composed by Gustav Holst. Arranged by G L Harvey. 20th Century,Contemporary,Contest,Festival,Patriotic,Sacred. Brass Band. 31 pages. G L Harvey #4412719. Published by G L Harvey (A0.805822). This rousing, stately and reflective piece of music has been arranged for standard brass band instrumentation (plus percussion). With concerts and memorial performances in mind, this arrangement is popular with bands and audiences alike. After an expressive opening, the melody moves around the band, exploiting interesting changes in time signature and texture, gradually leading to a final climax and closing flourish. The PDF is 31 pages in length (portrait A4) and includes a full score and parts for standard British brass band format, plus timpani and glockenspiel parts. Note that the percussion parts are desirable but not essential. The duration of the piece is 2 minutes 45 seconds.
$45.99 ≈
42.52€
Vow to Thee, My Country (Saxophone Quintet)
Vow to Thee, My Country (Saxophone Quintet)
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Contemporain
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Gustav Holst
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G L Harvey
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optional Timpani
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Vow to Thee, My Country
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G L Harvey
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 4 - SKU: A0.805854 Composed by Gustav Holst. Arranged by G L Harvey. 20th Century,Concert,Contemporary,Patrio...
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Woodwind Ensemble,Woodwind Quintet - Level 4 - SKU: A0.805854 Composed by Gustav Holst. Arranged by G L Harvey. 20th Century,Concert,Contemporary,Patriotic,Sacred. 11 pages. G L Harvey #4633265. Published by G L Harvey (A0.805854). This rousing, stately and reflective piece of music has been arranged for Saxophone Quintet & optional Timpani. With concerts and memorial performances in mind, this arrangement is popular with players and audiences alike. After an expressive opening, the melody moves around the ensemble, exploiting interesting changes in time signature and texture, gradually leading to a final climax and closing flourish. The difficulty level is about ABRSM grade 5-6. The PDF is 11 pages in length (portrait A4) and includes a full score and parts for Alto 1 & 2, Tenor 1 & 2, Baritone and Timpani. The timpani part is desirable for some added gravitas but not essential. The duration of the piece is 2 minutes 50 seconds. Please note that versions of this arrangement are also available for brass band, brass and wind quintets.
$15.99 ≈
14.78€
God Bless Us Everyone
God Bless Us Everyone
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Chorale TTBB
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INTERMÉDIAIRE/AVANCÉ
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Alan Menken
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EDDY CLEMENT
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God Bless Us Everyone
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Eddy Clement
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - SKU: A0.927812 Composed by Alan Menken. Arranged by EDDY CLEMENT. A Cappella. Octavo. 12 pages. Eddy Clement #5749581. P...
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Choral Choir (TTBB) - Level 4 - SKU: A0.927812 Composed by Alan Menken. Arranged by EDDY CLEMENT. A Cappella. Octavo. 12 pages. Eddy Clement #5749581. Published by Eddy Clement (A0.927812). This new take on a contemporary Holiday classic expertly weaves the traditional O Come, All Ye Faithful throughout. But the true star is the well-written Men's Chorus treatment of God Bless Us Everyone. With logical voice-leadings and timely, poignant lyrics like Till each child is fed, till we all are free, till the world becomes a family this arrangement will serve well as a concert Opener or Closer. Midway through, the focus shifts to a reverent a cappella statement of O Come... which eventually ramps up to a bookend big closing. The arrangement is tried and true, having been performed by men's choruses around the country. Minimal divisi (5 chords).
$2.95 ≈
2.73€
Take it All But the Lazy-boy, TV and the Remote, for Bb clarinet, trumpet, and/or tenor saxophone.
Take it All But the Lazy-boy, TV and the Remote, for Bb clarinet, trumpet, and/or tenor saxophone.
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George Arvola, Virginia Mathew
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Take it All But the Lazy-boy,
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George Arvola and Virginia Mathews
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SheetMusicPlus
Small Ensemble Clarinet,Tenor Saxophone,Trumpet - Level 4 - SKU: A0.947509 Composed by George Arvola, Virginia Mathews. Holiday,Instructional,Jazz,Stand...
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Small Ensemble Clarinet,Tenor Saxophone,Trumpet - Level 4 - SKU: A0.947509 Composed by George Arvola, Virginia Mathews. Holiday,Instructional,Jazz,Standards,Wedding. Score and parts. 9 pages. George Arvola and Virginia Mathews #511095. Published by George Arvola and Virginia Mathews (A0.947509). New release in 2015 meeting the demand for INSPIRING arpeggio studies. Includes piano accompaniment and bass parts. arpeggioartistry.com hosts the full recordings and complete list of fun arpeggio etudes from our book, Delicious Licorice. Arrangements for other instruments are also available. Dance bands could use this extended(3:10 in length), syncopated and twisted fun for all arpeggio exercise as an end of the night cuddle your dance partner closing tune. In that case, you may want to shorten the title to the first three words. Little will your audience realize that you are practising your arpeggio skills.
$5.99 ≈
5.54€
Julie-Jane: The Ballad Singer (Downloadable)
Julie-Jane: The Ballad Singer (Downloadable)
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Voix Baryton, Piano
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INTERMÉDIAIRE
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Juliana Hall
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Julie-Jane: The Ballad Singer
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Baritone voice and piano - Medium - SKU: MQ.8580-1E Composed by Juliana Hall. Secular, 21st century. 8 pages. E. C. Schirmer Music Company - Digital #85...
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Baritone voice and piano - Medium - SKU: MQ.8580-1E Composed by Juliana Hall. Secular, 21st century. 8 pages. E. C. Schirmer Music Company - Digital #8580-1E. Published by E. C. Schirmer Music Company - Digital (MQ.8580-1E). English.An assortment of English country personalities inhabit this song cycle, which deals with the ideas of lost love and betrayal in love. The cycle begins with a ballad singer whom the speaker implores to song as a way of making him forget the pain of losing one whom he loves. Julie-Jane is a young woman whom the speaker fondly remembers after she has passed on following the company of a number of men out of wedlock. A fiddler plays at a country dance, watching as dancers couple throughout the night, and then for life. Carrey Clavel is another woman, one who scorns the company of the speaker, and finally Rose-Ann, who has led the speaker on without telling him she is promised to another. Duration: 24:00Contents:1. The Ballad Singer2. Julie-Jane3. The Fiddler4. To Carrey Clavel5. Rose-Ann.
$4.25 ≈
3.93€
Vow to Thee, My Country (Flexible Brass Quintet)
Vow to Thee, My Country (Flexible Brass Quintet)
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Gustav Holst
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G L Harvey
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optional timpani
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Vow to Thee, My Country
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G L Harvey
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SheetMusicPlus
Small Ensemble Timpani - Level 4 - SKU: A0.805825 Composed by Gustav Holst. Arranged by G L Harvey. 20th Century,Concert,Contemporary,Patriotic,Sacred. ...
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Small Ensemble Timpani - Level 4 - SKU: A0.805825 Composed by Gustav Holst. Arranged by G L Harvey. 20th Century,Concert,Contemporary,Patriotic,Sacred. Score and parts. 17 pages. G L Harvey #4413133. Published by G L Harvey (A0.805825). This rousing, stately and reflective piece of music has been arranged for flexible brass quintet & optional timpani. With concerts and memorial performances in mind, this arrangement is popular with players and audiences alike. After an expressive opening, the melody moves around the ensemble, exploiting interesting changes in time signature and texture, gradually leading to a final climax and closing flourish. The difficulty level is about ABRSM grade 5-6. The PDF is 17 pages in length (portrait A4) and includes a full score and parts for standard brass quintet (with extra substitute parts for Eb trumpet, tenor horn in Eb, euphonium/baritone in treble clef & Eb/Bb Bass), plus timpani. Note that the timpani part is desirable but not essential. The duration of the piece is 2 minutes 45 seconds.
$15.99 ≈
14.78€
Bach: Toccata & Fugue in D Minor, BWV 565 for Brass Quintet
Bach: Toccata & Fugue in D Minor, BWV 565 for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Johann Sebastian Bach
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James M
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Bach: Toccata & Fugue in D
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jmsgu3
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SheetMusicPlus
Brass Quintet Bass Trombone,Horn,Trumpet,Tuba - Level 4 - SKU: A0.1473676 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamb...
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Brass Quintet Bass Trombone,Horn,Trumpet,Tuba - Level 4 - SKU: A0.1473676 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Halloween,Historic,Traditional. 49 pages. Jmsgu3 #1051393. Published by jmsgu3 (A0.1473676). The Toccata and Fugue in D Minor, BWV 565, is one of Johann Sebastian Bach's most famous organ compositions. It follows a typical North German structure with three main sections - a free opening (toccata), a fugal section (fugue), and a short free closing section. The exact date of composition is uncertain, but it's believed to have been written before 1708. There is no surviving autograph manuscript. The oldest known source is an undated copy by Johannes Ringk, a student of one of Bach's pupils. It was first published in 1833 through the efforts of composer Felix Mendelssohn during the early Bach Revival period. It gained widespread recognition after being featured in Disney's 1940 film Fantasia, which Leopold Stokowski adapted for orchestra. The piece has become strongly associated with horror films and Gothic imagery in Western culture. The Toccata begins with dramatic flourishes and arpeggios, showcasing the organist's virtuosity. The fugue is characterized by overlapping repetitions of the central theme in different melodic lines. It employs simple triadic harmony but includes some unexpected elements, such as a C minor subject entry and a solo pedal statement.
$49.95 ≈
46.18€
Lembranças do Brasil (for Brass Quintet)
Lembranças do Brasil (for Brass Quintet)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Dr
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Lembranças do Brasil
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https://gildedmusicpress.com/
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SheetMusicPlus
Flugelhorn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1158292 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Jazz,Multicultural,World. 30 pages....
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Flugelhorn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1158292 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Jazz,Multicultural,World. 30 pages. Https://gildedmusicpress.com/ #758480. Published by https://gildedmusicpress.com/ (A0.1158292). Commentary written by the composer, Dr. Daniel N. Thrower: In July 2018 I spent nine days in Barra Mansa, Brazil, which lies a couple hours west of Rio de Janeiro. The occasion of my visit was the second annual International Music Festival. The festival coordinator, Vantoil de Sousa, Jr. brought me there to be the resident trumpet professor for the week, and to premiere my three-movement Concerto for Trumpet and Orchestra at the Closing Concert. As I speak Portuguese somewhat fluently, many of the 20 trumpet students of all levels became great friends. Throughout the week I kept mentioning that my next composition was going to be “Lembranças do Brasil†as yet another musical journal entry in my life’s soundtrack. Truly, I had a lifetime of extraordinary experiences in Brazil during that week, from the outstanding food to my humorous self-introduction to capivaras! Overall, that week was supremely memorable and definitely a highlight of my life. One morning in early November 2018, a 'feel-good' cool melody woke me up and wouldn’t leave. It developed in my mind and I was in a spectacular mood all day long. It felt like Bobby McFarrin’s 'Don’t Worry, Be Happy' or Pharrell Williams’ 'Happy,' though in a vastly different style from either. This was my happy song. Long hours flowed quickly through the next few days as I worked out the form and details of the music, which screamed for the promised title 'Lembranças do Brasil'! Happy memories of my beautiful week in Brazil, some of which are captured on the front cover collage, now have the perfect soundtrack in my musical journal. This version was tweaked from the original five flugelhorns, and lends itself very well (perhaps even better) in the brass quintet setting.
$24.95 ≈
23.07€
Yakety Sax
Yakety Sax
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Country
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Boots Randolph
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Warren J
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Yakety Sax
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Warren J Wernick
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.948771 By Boots Randolph. By Boots Randolph and James Rich. Arranged by Warren J. Wernick. Country. Score and parts. ...
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Brass Ensemble - Level 4 - SKU: A0.948771 By Boots Randolph. By Boots Randolph and James Rich. Arranged by Warren J. Wernick. Country. Score and parts. 16 pages. Warren J Wernick #5755039. Published by Warren J Wernick (A0.948771). Yakety Sax is a pop novelty instrumental jointly composed by James Q. Spider Rich and Boots Randolph. Saxophonist Randolph popularized the selection in his 1963 recording, which reached number 35 on the rock charts. UK comedian Benny Hill later made it more widely known as the closing theme music of The Benny Hill Show. The piece is considered Randolph's signature work. Arranged here in a rather orchestral style for Brass Quintet.
$12.99 ≈
12.01€
Lost and Found
Lost and Found
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Daniel Bouknight
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Lost and Found
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Daniel Bouknight
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1219650 Composed by Daniel Bouknight. Classical. Score and Parts. 52 pages. Daniel Bouknight #816008. Published by Dani...
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Concert Band - Level 4 - SKU: A0.1219650 Composed by Daniel Bouknight. Classical. Score and Parts. 52 pages. Daniel Bouknight #816008. Published by Daniel Bouknight (A0.1219650). The idea behind the piece is supposed to potray the process of overcoming obstacles in life, in this case, its the obstacle of losing people. When somesone in our life is lost suddenly, we're left a mess, everything seems discombobulated, nothing seems to quite make sense anymore. The beginning of the piece gets that across with the drone coming in on its own and the different chord changes through out helps drive that message along. Then the whole band joins in to really set in the confussion and disorientate you. The two soloists, Trombone and Trumpet, will be offstatge solos. These are playing the roles of Gods angels coming to your rescure trying to guide you through it all. But, you do not listen and the confussion continues on. Soon enough, you give in, listening to the angels you find yourself and you realize...its all okay. The ensemble is playing this emotional and warm hit with the solosits singing over the top giving the sense that we've made it. Then to close out the piece, the soloists chime in one last time to bring in the resolution of the piece, that you are home, you are safe, you can rest.
$34.99 ≈
32.35€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.18€
Trapped
Trapped
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Scott Custer Jr
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being used for my kindness
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Trapped
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Scott Custer Jr
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1153691 By Scott Custer Jr. By Scott Custer Jr. Contemporary. Score and parts. 101 pages. Scott Custer Jr #753948. Publ...
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Concert Band - Level 4 - SKU: A0.1153691 By Scott Custer Jr. By Scott Custer Jr. Contemporary. Score and parts. 101 pages. Scott Custer Jr #753948. Published by Scott Custer Jr (A0.1153691). My first complete concert band piece. It's been in the works for about 3 months. The early drafts of this piece were written in April/May and were then left to collect dust for months. I wrote it to experiment with melodic/harmonic minor scales and did not intend to finish the piece. Around the same time I wrote the early drafts of the piece, my high school band director asked if I wanted to write a piece for the concert band. I agreed and spent months working on different pieces of music, completing none of them. Around late October I stumbled across this looking through old pieces of music for some new ideas. I listened through it 3 or 4 times and decided to continue the piece. After spending roughly two months finishing the draft, and another month revising and adding parts, I had finally finished Trapped. When I started working on this piece with the intention of finishing it, I was at a difficult point in my life. I had recently come home from my rookie season of drum corps and was still transitioning back to the real world. The freedom of tour had been taken away from me, I had mentally matured a lot during the summer. While only 17 I felt like I was stuck with a bunch of kids. I had spent all summer with friends much older than me, learning a lot from them and taking inspiration from them in many ways. When I started this piece, I was conflicted with many thoughts and emotions. I was still under the impression that my peers in the music program hated me because of some of my actions last year. The girl from home I had been talking with all summer while I was gone, and hoped to start a relationship with, lied to me while I was gone about many things, causing me to remove them from my life. The last year and a half have involved many events like losing my best friend of 5 years because of, what I consider, an overreaction on my part; being used for my kindness; lied to; having secrets about me revealed behind my back by those I trusted; being a therapy friend; constant overthinking; as well as toxic friendships I didn’t want to leave because I gave them the benefit of the doubt. I felt trapped. I had spent so long trying to improve myself to become who I am today, and I still felt like crap. Even though I knew and promised myself I wouldn’t follow through, I was battling suicidal thoughts and I was in a severely depressive episode of my life. I wrote this piece to express the feeling of overthinking, being trapped in your mind, and the road to recovery. The constant back-and-forth battles with yourself, unsure of where to go and what to do next; feeling trapped. I hope that this piece connects and resonates with those of you in a similar position to what I was in, and I promise there is a way out and that life does get better. And with that, I present to you, Trapped.
$25.00 ≈
23.11€
Rocket Man (i Think It's Gonna Be A Long Long Time)
Rocket Man (i Think It's Gonna Be A Long Long Time)
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Piano seul
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AVANCÉ
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Contemporain
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Piano Tribute Players
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Claudio Porstmann
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Rocket Man
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Claudio Porstmann
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.835233 By Piano Tribute Players. By Bernie Taupin and Elton John. Arranged by Claudio Porstmann. Contemporary. Score. 6 p...
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Piano Solo - Level 5 - SKU: A0.835233 By Piano Tribute Players. By Bernie Taupin and Elton John. Arranged by Claudio Porstmann. Contemporary. Score. 6 pages. Claudio Porstmann #4595191. Published by Claudio Porstmann (A0.835233). An original arrangement for piano of this classic song by Elton John. Rocket Man is for the advanced piano player but offers many ways to be simplified for easier playing without losing the drive and melody of the piece.The original melody from the 70's is also performed in the Elton John biopic Rocket Man. Give this one a try if you like the tune.
$4.99 ≈
4.61€
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