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Watching From Above
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Vous avez sélectionné:
Watching From Above
Partitions à imprimer
11 partitions trouvées
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1
Watching From Above
Watching From Above
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Piano Facile
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FACILE
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Zack Richards
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Watching From Above
#
Zack Richards
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SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.894412 Composed by Zack Richards. Children,Concert,Contemporary,Instructional. Score. 5 pages. Zack Richards #6368597. Pu...
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Easy Piano - Level 2 - SKU: A0.894412 Composed by Zack Richards. Children,Concert,Contemporary,Instructional. Score. 5 pages. Zack Richards #6368597. Published by Zack Richards (A0.894412). Written for a Theory Class during my Undergraduate work at The University of Akron, Watching From Above is a simple, but lovely little piece. The hauntingly beautiful melody in minor is emphasized by some unexpected harmonies and tonal shifts. Perfect for a student learning how harmonic choices affect the mood of the melody, this meaningful song is also accessible for more experienced players looking to broaden their expressive playing.Solo Piano
$2.99 ≈
2.76€
Tanabatasama - SSAAT Acappella
Tanabatasama - SSAAT Acappella
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Chorale 3 parties
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INTERMÉDIAIRE/AVANCÉ
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Kan-ich Shimo-osa
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Yoshie Nakayama
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Tanabatasama - SSAAT Acappella
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Yoshie Nakayama
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SheetMusicPlus
Choral Choir (SAT) - Level 4 - SKU: A0.1233824 Composed by Kan-ich Shimo-osa. Arranged by Yoshie Nakayama. A Cappella,Barbershop,Multicultural,Tradition...
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Choral Choir (SAT) - Level 4 - SKU: A0.1233824 Composed by Kan-ich Shimo-osa. Arranged by Yoshie Nakayama. A Cappella,Barbershop,Multicultural,Traditional,World. Octavo. 3 pages. Yoshie Nakayama #829386. Published by Yoshie Nakayama (A0.1233824). This is a mixed a cappella quintet arrangement of the Japanese traditional song to celebrate the star festival on July 7th, Tanabata.Tanabata, has been celebrated for hundreds of years in Japan on July 7th, the one day a year that the two lovers in the famous Tanabata myth can cross the Milky Way to meet.Below is the lyric translation;The bamboo leaves rustle,And sway under the eaves.The stars twinkleLike gold and silver grains of sand.The five-color paper stripsI have written them.The stars twinkle,Watching from above.
$2.99 ≈
2.76€
I Will Seek Jesus, a sacred hymn
I Will Seek Jesus, a sacred hymn
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin G
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I Will Seek Jesus, a sacred hy
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.744949 By Kevin G. Pace. By Kevin G. Pace (ASCAP), Kathryn W. Hales. A Cappella,Praise & Worship,Sacred,Spiritua...
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Choral Choir (SATB) - Level 4 - SKU: A0.744949 By Kevin G. Pace. By Kevin G. Pace (ASCAP), Kathryn W. Hales. A Cappella,Praise & Worship,Sacred,Spiritual. Octavo. 2 pages. Kevin G. Pace #352940. Published by Kevin G. Pace (A0.744949). A beautiful, sacred hymn with music by Kevin G. Pace and text by Kathryn W. Hales. Text: I will seek Jesus like shepherds of old, Hastening forward through the night and the cold, I will search each house, stable, or inn, ‘Til I find the Babe who will save me from sin. Refrain I will seek Jesus like others before, I will seek Jesus who stands at the door Each step brings me closer to His love deep and warm, Where waiting He’ll greet me with welcoming arms. I will seek Jesus like Mary so dear, Who obeyed God with faith, not doubt or fear, I will seek Jesus in labor and love, Pondering life given me from above. I will seek Jesus like wisemen who came Over great distance__desert and plain, I will seek Jesus watching a star With diligence, courage, though traveling far. I will seek Jesus like Joseph who stood Beside Mary through bad times or good, Through acts of compassion, service so kind, Obeying dreams which came to his mind.
$1.99 ≈
1.84€
"Hark! the Herald Angels Sing", reflective
"Hark! the Herald Angels Sing", reflective
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Orgue
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INTERMÉDIAIRE
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Classique
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Felix Bartholdy Mendelssohn
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Terry M
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"Hark! the Herald Angels
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Forsyth Publishing
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SheetMusicPlus
Organ - Level 3 - SKU: A0.932740 Composed by Felix Bartholdy Mendelssohn. Arranged by Terry M. Forsyth. Christmas,Sacred. Score. 3 pages. Forsyth Publis...
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Organ - Level 3 - SKU: A0.932740 Composed by Felix Bartholdy Mendelssohn. Arranged by Terry M. Forsyth. Christmas,Sacred. Score. 3 pages. Forsyth Publishing #6667495. Published by Forsyth Publishing (A0.932740). This reflective arrangement is based on idea the angels have been waiting the millennia for the birth of this infant, recently flying excitedly about with the coming of the baby. But now Mary is in labor, the head to appear any moment. All the angels have stopped their flying and are now bent over watching, waiting quietly from above with amazement and awe. Used for prelude for Christmas Eve communion service. Fairly easy to play, uses right handing playing two keyboards simultaneously, almost no pedals. Adds to repertoire by being a reflective vs. usually excited piece. .
$4.99 ≈
4.61€
Waltz of Life Songbook
Waltz of Life Songbook
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Sydney Stevens
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Waltz of Life (Reprise)
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Waltz of Life Songbook
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Sydney Stevens, Water Music
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SheetMusicPlus
Small Ensemble Cello,Flute,Piano Accompaniment,Violin - Level 4 - SKU: A0.859695 Composed by Sydney Stevens. 20th Century,Concert,New Age,Wedding. Score...
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Small Ensemble Cello,Flute,Piano Accompaniment,Violin - Level 4 - SKU: A0.859695 Composed by Sydney Stevens. 20th Century,Concert,New Age,Wedding. Score and parts. 83 pages. Sydney Stevens, Water Music #5954063. Published by Sydney Stevens, Water Music (A0.859695). Contact: sydneystevenspianostudio@gmail.comWaltz of Life Songbook: Includes all 14 songs from the album Waltz of Life. Waltz of Life (piano/flute/violin/cello) and Your New Wings (piano/violin/cello) are arranged in full score. These two songs can be purchased on this site as singles, which includes part scores. Piano solos include: Dreams, B.J., A Life, Looking Back, Gatherings, Spring Light, No More Tears, Beginnings, Blind Boy, True Heart, Harvest Moon & Waltz of Life (Reprise).[Note: All of the above songs can be sampled on this site as individual scores.]Composed by Sydney Stevens (ASCAP)Sounds like: Jim Brickman, Michele Mclaughlin, Greg Star, Doug Hammer, Steven Cravis, Rachel Currea, Laura Sullivan, David Nevue, Scott Cossu, Peter Kater.From Album: Waltz of Life Mood: Gentle, heartfelt, warm, emotional, comforting, innocent.Musical Traits: New Age Romantic style a la Windham Hill. From intermediate to advanced in level. Appropriate for: Recital, weddings, special music in church.Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links:www.sydneystevenswatermusic.comhttp://www.linkedin.com/in/sydney-stevens-532a113aBIOGRAPHY: Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. Sydney's father is a jazz pianist, so both jazz and classical influences came at an early age. Her strong sense of artistry has evolved from years of composing music that expresses a wide range of emotions. Sydney is a master at creating musical landscapes which evoke strong imagery.
$14.95 ≈
13.80€
Dreams
Dreams
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Piano seul
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INTERMÉDIAIRE
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Sydney Stevens
#
Dreams
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Sydney Stevens, Water Music
#
SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.859694 Composed by Sydney Stevens. 20th Century,Concert,New Age. Score. 5 pages. Sydney Stevens, Water Music #5953095. Pu...
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Piano Solo - Level 3 - SKU: A0.859694 Composed by Sydney Stevens. 20th Century,Concert,New Age. Score. 5 pages. Sydney Stevens, Water Music #5953095. Published by Sydney Stevens, Water Music (A0.859694). Contact: sydneystevenspianostudio@gmail.comDreams: Piano Solo by Sydney Stevens (ASCAP) from the album Waltz of Life. Includes chord symbols above staff.Performance Time: 3:12Sounds like: Michelle Mclaughlin, Greg Star, Doug Hammer, Steven Cravis, Rachel Currea, Laura Sullivan, David Nevue, Scott Cossu, Peter Kater. From Album: Waltz of LifeMood: Gentle, tender, comforting.Musical Traits: New Age Romantic style a la Erik Satie.Appropriate for: Recital, weddings, special music in church.Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links:www.sydneystevenswatermusic.comhttp://www.linkedin.com/in/sydney-stevens-532a113aBIOGRAPHY: Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. Sydney's father is a jazz pianist, so both jazz and classical influences came at an early age. Her strong sense of artistry has evolved from years of composing music that expresses a wide range of emotions. Sydney is a master at creating musical landscapes which evoke strong imagery.A natural composer, Sydney finished her music composition degree after years of honing her artistry in the absence of outside influences. After completing her formal training in music composition, Sydney graduated cum laude from University of Redlands, Redlands California, receiving the prestigious Sigma Alpha Iota Composer's Award. Stevens also studied music composition at University of York, York England and with composer and recording artist Bill Douglas in Boulder, Colorado.In addition to her large body of songs and piano works, Sydney has also composed music for chamber music and symphony orchestra. Born in Los Angeles, California and raised in Seattle, Washington, Sydney currently resides on the Oregon side of the beautiful Columbia River Gorge. A prolific composer, Sydney also teaches private piano lessons to students of all ages.
$4.95 ≈
4.57€
Mad World
Mad World
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Chorale SATB
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DÉBUTANT
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Film/TV
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Adam Lambert
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Sandra Milliken
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Mad World
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Sandra Milliken
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SheetMusicPlus
Choral Choir (SATB) - Level 1 - SKU: A0.774773 By Adam Lambert. By Roland Orzabal. Arranged by Sandra Milliken. Film/TV. Octavo. 12 pages. Sandra Millik...
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Choral Choir (SATB) - Level 1 - SKU: A0.774773 By Adam Lambert. By Roland Orzabal. Arranged by Sandra Milliken. Film/TV. Octavo. 12 pages. Sandra Milliken #6054381. Published by Sandra Milliken (A0.774773). Mad World is a 1982 song written by Roland Orzabal and sung by Curt Smith, members of the British band Tears for Fears. It was the band's third single release and its first chart hit, reaching number 3 on the UK Singles Chart in November 1982. It has since been covered by an extensive list of singers, most notably by Gary Jules and Michael Andrews for the soundtrack of the 2001 film Donnie Darko. This version became a UK number one hit when it was released as a single in 2003.Orzabal wrote the song when he was 19, living in an apartment above a pizza shop in Bath. Here he would spend his time looking out the window, strumming guitar and watching people going about their daily business. It's a bizarre viewpoint to watch people go about their daily routine, having to work for a living, when you're sitting in a flat, unemployed, he said. That's where it came from.In keeping with the poignant simplicity of the Gary Jules version, this choral arrangement seeks to maintain the clarity of the text, with passing dissonances highlighting the word mad. The ending section includes overlapping motif ideas which can be effectively dramatized in accordance with the included performance notes. Mad World is available in three voicings – SSA, SAB and SATB – all with piano accompaniment.
$2.20 ≈
2.03€
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 ≈
22.14€
High Hopes - String Quartet - Panic! At The Disco arr. Cellobat -- Recording Available!
High Hopes - String Quartet - Panic! At The Disco arr. Cellobat -- Recording Available!
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Rock
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Panic! At the Disco
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Sarah Cellobat Chaffee
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High Hopes - String Quartet -
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Sarah Chaffee
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SheetMusicPlus
String Quartet - Intermediate - By Panic! At the Disco. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 21 pages. Published by Sarah Chaffe...
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String Quartet - Intermediate - By Panic! At the Disco. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 21 pages. Published by Sarah Chaffee
"High Hopes" was released by Panic! At The Disco in 2018 as a single from their sixth studio album, "Pray For The Wicked." This upbeat, catchy song soon became a smash hit, reaching number 4 on the Billboard charts and becoming their highest-charting single of all time. This arrangement for string quartet has the exuberant energy, rich harmonic layers, driving beat, and dynamic impact of the original, and it's absolutely as much fun to play as it is to listen to! Great for parties, corporate events, solo & ensemble contests, or even weddings and receptions, it's a guaranteed crowd pleaser and you're sure to get your audience singing along. This arrangement is dedicated to a good friend of mine who was in P!ATD's string section on their "Pray For The Wicked" tour -- Kiara, it was so much fun watching you play this song with them! Rated intermediate, this chart will be playable for students and easily sightreadable for professionals. There is nothing above first position in the V2, viola, and cello parts, and only a few notes higher than that in V1. There are a few tied rhythms in but nothing too complicated.
Why choose Cellobat Charts arrangements? For any musician who knows what they're doing, the answer is easy: just listen to them. Every freelance musician has thrown hard-earned money away on questionable, error-filled charts by unknown arrangers from weird corners of the Internet. But watch out -- inferior arrangements not only make gigs less enjoyable to play, but they also make your group sound bad to your client and audience, no matter how great your players really are. That's why Cellobat Charts is here: to provide students and working string players alike with high-quality versions of highly requested music. My arrangements are guaranteed to be energetic, fun to play, and enjoyable to listen to, whether or not you're familiar with the original songs. Hear the difference for yourself! Full videos of many Cellobat Charts arrangements are available on YouTube so you know exactly what you're getting. Click "Watch" near the item details at the top of the page for full video of "High Hopes." Crowd pleasing guaranteed.
Sarah "Cellobat" Chaffee earned her bachelor's degree in cello performance from the Cleveland Institute of Music and is now based in Las Vegas. She currently performs with Aerosmith in their "Deuces Are Wild" residency at The Park MGM Theater on the Las Vegas Strip. Sarah is also the principal cellist in David Perrico's Pop Strings Orchestra, a 14-piece band that performs every Friday and Saturday at Caesars Palace, and she plays regularly for Premiere Wedding Music and Bella Electric Strings. Sarah has performed and recorded with many other artists including Halsey, Disturbed, Mötley Crüe, Celine Dion, Kygo, Ricky Martin, Sarah Brightman, Il Divo, and Lady Antebellum. She can be found at:
http://www.cellobat.com
http://www.instagram.com/cellobat
http://www.youtube.com/c/SarahCellobatChaffee
$16.99 ≈
15.68€
Mad World
Mad World
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Chorale 3 parties
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DÉBUTANT
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Pop musique
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Gary Jules, Tears For Fears
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Sandra Milliken
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Mad World
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Sandra Milliken
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SheetMusicPlus
SAB, with piano accompaniment - Easy/Beginner - Digital Download By Gary Jules, Tears For Fears. Arranged by Sandra Milliken. Score. 12 pages. Published by...
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SAB, with piano accompaniment - Easy/Beginner - Digital Download By Gary Jules, Tears For Fears. Arranged by Sandra Milliken. Score. 12 pages. Published by Sandra Milliken
Mad World is a 1982 song written by Roland Orzabal and sung by Curt Smith, members of the British band Tears for Fears. It was the band's third single release and its first chart hit, reaching number 3 on the UK Singles Chart in November 1982. It has since been covered by an extensive list of singers, most notably by Gary Jules and Michael Andrews for the soundtrack of the 2001 film Donnie Darko. This version became a UK number one hit when it was released as a single in 2003.
Orzabal wrote the song when he was 19, living in an apartment above a pizza shop in Bath. Here he would spend his time looking out the window, strumming guitar and watching people going about their daily business. "It's a bizarre viewpoint to watch people go about their daily routine, having to work for a living, when you're sitting in a flat, unemployed," he said. "That's where it came from."
In keeping with the poignant simplicity of the Gary Jules version, this choral arrangement seeks to maintain the clarity of the text, with passing dissonances highlighting the word ?mad?. The ending section includes overlapping motif ideas which can be effectively dramatized in accordance with the included performance notes.
Mad World is available in three voicings ? SSA, SAB and SATB ? all with piano accompaniment.
$2.20 ≈
2.03€
Mad World
Mad World
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Chorale 3 parties
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DÉBUTANT
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Pop musique
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Gary Jules, Tears For Fears
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Sandra Milliken
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Mad World
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Sandra Milliken
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SheetMusicPlus
SSA, with piano accompaniment - Easy/Beginner - Digital Download By Gary Jules, Tears For Fears. Arranged by Sandra Milliken. Score. 12 pages. Publis...
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SSA, with piano accompaniment - Easy/Beginner - Digital Download By Gary Jules, Tears For Fears. Arranged by Sandra Milliken. Score. 12 pages. Published by Sandra Milliken
Mad World is a 1982 song written by Roland Orzabal and sung by Curt Smith, members of the British band Tears for Fears. It was the band's third single release and its first chart hit, reaching number 3 on the UK Singles Chart in November 1982. It has since been covered by an extensive list of singers, most notably by Gary Jules and Michael Andrews for the soundtrack of the 2001 film Donnie Darko. This version became a UK number one hit when it was released as a single in 2003.
Orzabal wrote the song when he was 19, living in an apartment above a pizza shop in Bath. Here he would spend his time looking out the window, strumming guitar and watching people going about their daily business. "It's a bizarre viewpoint to watch people go about their daily routine, having to work for a living, when you're sitting in a flat, unemployed," he said. "That's where it came from."
In keeping with the poignant simplicity of the Gary Jules version, this choral arrangement seeks to maintain the clarity of the text, with passing dissonances highlighting the word ?mad?. The ending section includes overlapping motif ideas which can be effectively dramatized in accordance with the included performance notes.
Mad World is available in three voicings ? SSA, SAB and SATB ? all with piano accompaniment.
$2.20 ≈
2.03€
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Watching From Above
