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Vous avez sélectionné:
Who's Got The Action
Partitions à imprimer
12 partitions trouvées
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1
Who's Got The Action
Who's Got The Action
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Orgue
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Dean Martin, Frank Sinatra, an
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Who's Got The Action
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Hal Leonard - Digital
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SheetMusicPlus
Electronic Keyboard,Organ,Piano and Keyboard - SKU: HX.608421 By Dean Martin, Frank Sinatra, and Sammy Davis Jr. This edition: scorch. E-Z Play Today. S...
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Electronic Keyboard,Organ,Piano and Keyboard - SKU: HX.608421 By Dean Martin, Frank Sinatra, and Sammy Davis Jr. This edition: scorch. E-Z Play Today. Standards. Score. 3 pages. Hal Leonard - Digital #215654. Published by Hal Leonard - Digital (HX.608421). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99 ≈
2.68€
The Man Who Laughs
The Man Who Laughs
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Ensemble de Percussions
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AVANCÉ
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the end of this section, the a
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Jehad Choate
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The Man Who Laughs
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Jehad Choate
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.1025413 Composed by Jehad Choate. 20th Century,Contemporary,Film/TV. Score and parts. 67 pages. Jehad Choate #47...
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Percussion Ensemble - Level 5 - SKU: A0.1025413 Composed by Jehad Choate. 20th Century,Contemporary,Film/TV. Score and parts. 67 pages. Jehad Choate #4781401. Published by Jehad Choate (A0.1025413). The Man Who Laughs is a musical portrait of Batman’s greatest adversary, the Joker (Detective Comics). This piece draws inspiration from both comic book sources and live-action performances on film and television. It features five continuous sections:One Bad Day: (Page 1) A prelude showcasing a lush melodic theme that ascribes the derangement of a normal man to the dramatic events of one bad day.How I Got These Scars: (Page 10) Introduces additional thematic material at a frantically energized pace to contrive an identity from a mind fragmented by hitting rock bottom.Why So Serious: (Page 17) Punctuates the Joker’s aggressive resolutions with a reoccurring two note motif.A Dance with the Devil: (Page 33) A fleshed-out unity of previous materials in a romantic waltz-like style.Giggling in a Corner and Bleeding: (Page 47) A dynamic and provocative bout of hysteria that challenges the speed and dexterity of a player in the same way the Joker challenges the ideological resolve of Batman. By the end of this section, the audience might feel like they have been attacked by the Joker, influenced by him, or may have actually been the Joker all along.
$10.00 ≈
8.96€
Who's Got the Action? by Dean Martin - Piano/Vocal/Guitar
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Piano, Voix et Guitare
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Dean Martin
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Who's Got the Action?
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Musicnotes
Performed by: Dean Martin: Who's Got the Action? Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet mu...
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Performed by: Dean Martin: Who's Got the Action? Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Guitar, instruments: Voice;Piano;Guitar; 7 pages -- Lounge~~Swing~~Traditional Pop~~Vocal Pop
$5.50 ≈
4.93€
LOVE IS WASTED ON THE YOUNG - from "Roxane of Bergerac" - a full length musica.
LOVE IS WASTED ON THE YOUNG - from "Roxane of Bergerac" - a full length musica.
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Voix Alto, Piano
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INTERMÉDIAIRE
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Dave Flippo - music, Marie Yue
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LOVE IS WASTED ON THE YOUNG -
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David William Flippo
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SheetMusicPlus
Alto Voice,Vocal Solo - Level 3 - SKU: A0.995980 Composed by Dave Flippo - music, Marie Yuen- lyrics. Baroque,Jazz. 6 pages. David William Flippo #47664...
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Alto Voice,Vocal Solo - Level 3 - SKU: A0.995980 Composed by Dave Flippo - music, Marie Yuen- lyrics. Baroque,Jazz. 6 pages. David William Flippo #4766491. Published by David William Flippo (A0.995980). Sung by: Duenna An argument for love of a more autumnal inclination among those who know what to do with what they've got. Style: Elegant classical aria with dance section. Piano / Vocal Score. From Roxane of Bergerac - A full length musical - A romantic action-comedy date musical about Roxane's refusal to be merely decorative when it comes to living her life, and this while questing for True Love and her Hero of True Romance. The musical language is a blend of Jazz and Renaissance musical styles that parallels the mash-up of today’s slang with the preciosity (refined speech) of some 16th century Parisians.
$3.95 ≈
3.54€
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 ≈
21.50€
Who's Got The Action
Who's Got The Action
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Piano, Voix et Guitare
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Dean Martin, Frank Sinatra, an
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Who's Got The Action
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Dean Martin, Frank Sinatra, and Sammy Davis, Jr.. Pop; Standards. Piano/Vocal/Guitar. 7 pages. Published by Hal Leonard - Digital Sheet Music...
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By Dean Martin, Frank Sinatra, and Sammy Davis, Jr.. Pop; Standards. Piano/Vocal/Guitar. 7 pages. Published by Hal Leonard - Digital Sheet Music
$4.99 ≈
4.47€
Who's Got The Action
Who's Got The Action
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Piano, Voix
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Jazz
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Dean Martin, Frank Sinatra, an
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Who's Got The Action
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Dean Martin, Frank Sinatra, and Sammy Davis, Jr.. Jazz; Standards. PV. 9 pages. Published by Hal Leonard - Digital Sheet Music...
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By Dean Martin, Frank Sinatra, and Sammy Davis, Jr.. Jazz; Standards. PV. 9 pages. Published by Hal Leonard - Digital Sheet Music
$4.99 ≈
4.47€
Jack Brooks: Who's Got The Action for voice & piano
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Piano, Voix
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INTERMÉDIAIRE
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Jazz
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Jack Brooks
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Virtualsheetmusic
Instantly printable sheet music by Dean Martin for voice & piano of MEDIUM skill level. / jazz,standards
Instantly printable sheet music by Dean Martin for voice & piano of MEDIUM skill level. / jazz,standards
$8.97 ≈
8.04€
Jack Brooks: Who's Got The Action for voice, piano and guitar
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Pop musique
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Jack Brooks
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Virtualsheetmusic
Instantly printable sheet music by Dean Martin for voice, piano or guitar of MEDIUM skill level. / pop,standards
Instantly printable sheet music by Dean Martin for voice, piano or guitar of MEDIUM skill level. / pop,standards
$7.97 ≈
7.14€
Wrecking Ball
Wrecking Ball
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Pop musique
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Miley Cyrus
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Kyle Pudenz
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Wrecking Ball
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ViolinVagabond Music
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.845973 By Miley Cyrus. By Henry Walter, Lukasz Gottwald, Maureen McDonald, Sacha Skarbek, and Stephan ...
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String Quartet String Quartet - Level 5 - SKU: A0.845973 By Miley Cyrus. By Henry Walter, Lukasz Gottwald, Maureen McDonald, Sacha Skarbek, and Stephan Richard Moccio. Arranged by Kyle Pudenz. Contemporary,Pop. Score and parts. 34 pages. ViolinVagabond Music #5310843. Published by ViolinVagabond Music (A0.845973). Why settle for a bland transcription of Hannah Montana when you can have an action-packed, thrill-filled arrangement that's ALMOST as crazy as Miley Cyrus!? (almost)You've heard the song. You've seen the video. Whether or not you're a Miley super fan, you get the hype and that's why you're here. So take that hype to the next level with a chart that will make your audience go what on earth just happened? the same way Miley does on at least a bi-annual basis. By the way, I'll tell you what just happened: your quartet just came in like a wrecking ball, and smashed every archaic stereotype about classical string players to PIECES!!Gone are the days of strings not being able to feel the groove. Silenced are the cynics who once called us boring and one-dimensional. A new era is upon us, where violins, violas, & cellos can get up, get out, and rock the faces off of the proletariat right alongside our guitar slinging, drumstick twirling brethren! And this chart is just what you need to usher in this oh so bright future for all who rosin the bow:Right from the start, this arrangement takes a unique spin on Miley's pop smash, with a lopsided groove that will have your listeners searching frantically for a downbeat. Their urges will finally be satisfied when the melody takes us back to that oh-so-familiar feeling of 4/4 security... but don't get too comfortable, because when that chorus drops you'd better hold on to your hats. That's right, the train is leaving the station for double-time town! Along this musical journey, you may also encounter glimpses of reggae, jazz, & bluegrass, culminating in a race to the finish that will wre-e-eck any musician who didn't come ready to hang. Oh, and just for funsies I threw in that classic showbiz' moment where the cellist steals the melody, so feel free to ham that up as much as possible, cello players!This arrangement also makes use of modern extended string techniques in order to create rhythmic grooves without the need for additional instruments, including chopping and strum bowing. If you are unfamiliar with these concepts, various resources exist all over the internet to aid you in your quest towards having better time. I recommend this series, for example: https://youtu.be/kfX3kxjC93sPerformance time - 4:20... and if that doesn't make Miley Cyrus proud I don't know what will.Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond
$17.99 ≈
16.12€
"dashed a tone of light rose" for solo flute
"dashed a tone of light rose" for solo flute
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Flûte traversière
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INTERMÉDIAIRE/AVANCÉ
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Jason McChristian
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"dashed a tone of light r
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Jason Gary McChristian
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SheetMusicPlus
Flute Solo - Level 4 - SKU: A0.886112 Composed by Jason McChristian. Concert,Contemporary. Individual part. 6 pages. Jason Gary McChristian #238171. Pub...
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Flute Solo - Level 4 - SKU: A0.886112 Composed by Jason McChristian. Concert,Contemporary. Individual part. 6 pages. Jason Gary McChristian #238171. Published by Jason Gary McChristian (A0.886112). Dashed a tone of light rose for solo flute ​ The title of this work is taken from a quote by the American painter John Sargent, in which he described the moment in painting Madame X that changed his view from one of dissatisfaction into one of utter joy and renewed inspiration. In dashed a tone of light rose, I sought to create the mixture of rawness and refinement found in Madame X, a once-controversial painting. The tension in this music represents not only the tarnished reputation of the artist, but also that of Madame Gautreau, the subject of the painting, whose status as a Parisian socialite was irrevocably destroyed. Throughout the work, both artist and subject are characterized by changes in tessitura. Though the artist's reputation was altered, ultimately it continued to remain intact through his lifetime, and it is he who gained our notoriety while the woman's misery has been largely forgotten.
$7.99 ≈
7.16€
Innerspace
Innerspace
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Film/TV
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Mikael Carlsson
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Innerspace
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Carlssons Kluster
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SheetMusicPlus
Full Orchestra - Advanced Intermediate - Digital Download Composed by Mikael Carlsson. 21st Century, Neo-Classical, Movies. Score, Set of Parts. 136 ...
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Full Orchestra - Advanced Intermediate - Digital Download Composed by Mikael Carlsson. 21st Century, Neo-Classical, Movies. Score, Set of Parts. 136 pages. Published by Carlssons Kluster
A large orchestral piece, inspired by the classic film music of science fiction cinema, perfect for cross-over, pops programs. A symphonic love letter to science fiction!
Anyone familiar with the 1980s sci-fi cinema boosted by the success of Steven Spielberg should note the obvious reference in the title of this piece. The 1987 sci-fi adventure, directed by Joe Dante and produced by Spielberg, was one of my favourite movies as a teenager.
When the enthusiastic Gothia Concentus commissioned me to write Innerspace, the task was to write a stand-alone concert work that would serve as companion piece to an impressive set list of well-known genre works primarily from the world of film, but also video games. Since all of the other pieces were written for sci-fi adventures taking place in outer space, I wanted to go in the other direction - inwards.
My piece and its storyline is inspired by that of Joe Dante?s movie, and of course, even more so by the ingenious 1960s sci-fi gem Fantastic Voyage. I would not say, though, that the music itself is particularly inspired by the scores written for these films (by Jerry Goldsmith and Leonard Rosenman) - it?s more of a love letter to all of the great sci-fi music written in the past century.
Innerspace is in large doses based on an octatonic scale which I developed based on a chord progression that has been in my head since I was a teenager, just waiting for the righ opportunity to ?come out?. The piece makes a condensed journey from the stark and alarming opening, through atmospheric passages which are almost bitonal in character, via stirring action and heroic scherzo motifs to a triumphant finale.
It is my intention that this piece should be entertaining, fun and exciting for the post-modern symphony audience, as well as a lot of fun for the players and conductor who share my love for the great sci-fi movies!
Duration: ca 7:30
Instrumentation: 3(1.2.pic)3(1.2.eh)3(1.2.bcl)3(1.2.cbn) - 6652(1opt) - timp.3perc - hp.pno - str.
Mikael Carlsson
January 2019
$149.99 ≈
134.42€
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Who's Got The Action
