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You've selected:
Clarinet, Violin, Cello, Piano
CONTEMPORARY - 20-21TH CENTURY
PIANO
Sheetmusic to print
11 sheet music found
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1
Minuet in F major for Piano Trio
Minuet in F major for Piano Trio
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Piano Trio: piano, violin, cello
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EASY
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Contemporary
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Kazys Daugela
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Minuet in F major for Piano Tr
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Kazys Daugela
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SheetMusicPlus
Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.935503 Composed by Kazys Daugela. Contemporary. Score and parts. 17 pa...
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Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.935503 Composed by Kazys Daugela. Contemporary. Score and parts. 17 pages. Kazys Daugela #6503087. Published by Kazys Daugela (A0.935503). The main body of the Minuet is in classical three-part song form with a memorable melody for solo instruments, without any technical tricks and simple, harmonious effective accompaniment for piano. A perfect piece for teaching and for concerts at music schools - is as fun to play as it is to listen to. This delightful piece is also suitable for flute, oboe, violin, clarinet, bassoon, violoncello, flugelhorn and alto saxophone. The piano part is identical in all versions. The parts for solo instrument and piano are set in such a way that they can be played even by young beginners. Don't forget to include this one on your soloist's next program! A true classic!
$6.99 ≈
¥50.74
After - Piano solo
After - Piano solo
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Piano solo
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INTERMEDIATE/ADVANCED
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Contemporary
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William Brenner
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After - Piano solo
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William Brenner
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1008266 Composed by William Brenner. Contemporary. Score. 4 pages. William Brenner #5821189. Published by...
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Piano Solo - Level 4 - Digital Download SKU: A0.1008266 Composed by William Brenner. Contemporary. Score. 4 pages. William Brenner #5821189. Published by William Brenner (A0.1008266). How's life going to be... after?Available for the following instruments:-Piano solo, Flute, Oboe, Clarinet in Bb, Bassoon, Alto Saxophone in Eb, Trumpet in Bb, Horn in F, Violin, CelloTo request a part, write at willmusics.contactme@gmail.com
$3.99 ≈
¥28.96
Adagio No 1, My Salvation from An Adagio Suite for Solo High Voice and Piano
Adagio No 1, My Salvation from An Adagio Suite for Solo High Voice and Piano
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Piano, Vocal and Guitar
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INTERMEDIATE
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Contemporary
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James Nathaniel Holland
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James Nathaniel Holland
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Adagio No 1, My Salvation from
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James Nathaniel Holland
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.730395 Composed by James Nathaniel Holland. Arranged by James Nathaniel Holland. Contempora...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.730395 Composed by James Nathaniel Holland. Arranged by James Nathaniel Holland. Contemporary. Score. 17 pages. James Nathaniel Holland #3077721. Published by James Nathaniel Holland (A0.730395). New and original music by 21st century, American Costa Rican composer James Nathaniel Holland. This beautiful piece arranged for high voice (Soprano or Tenor (Key of Ab, Range: Db to high Ab), piano (or harp or organ) and additional instrumental duets (Treble instruments in C (flute, oboe, or violin), Treble instruments in Bb (clarinet, perhaps trumpet), bass instruments in C (cello, bassoon, trombone) or in F (horn or English horn) is adapted from the ballet the Wind in the Willows. This piece is perfect for funerals, graduations, or any solemn occasions. Text is non-religious, but expresses universal sentiments of one's helping others and impermanence. The sample here is presented with voice, piano and solo violin.Text:Those roads I have trodd'nAnd the faces I have known,If I've left a bit of good,That is my salvation.
$5.50 ≈
¥39.92
Galileo's Starry Messenger - Piano-Vocal Score for Baritone Solo, Chorus, and Speaking Parts
Galileo's Starry Messenger - Piano-Vocal Score for Baritone Solo, Chorus, and Speaking Parts
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Piano, Voice
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INTERMEDIATE/ADVANCED
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Contemporary
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Leslie Kleen
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Galileo's Starry Messenger - P
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Music From Riverside
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SheetMusicPlus
Small Ensemble Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1004811 Composed by Leslie Kleen. Contemporary. Score. 50 pages. Music From Riversi...
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Small Ensemble Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1004811 Composed by Leslie Kleen. Contemporary. Score. 50 pages. Music From Riverside #4800527. Published by Music From Riverside (A0.1004811). The Piano-Vocal Score for Galileo's Starry Messenger, which is is a concert musical for Baritone Solo, Small chorus, speaking roles, and chamber orchestra. The orchestra consists of Piano, Flute, Oboe, Bb Clarinet, Bassoon, Violin 1, Violin 2, Viola, 'Cello.
$5.00 ≈
¥36.29
Longa & Samai' collection with piano accompaniment
Longa & Samai' collection with piano accompaniment
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Piano Accompaniment
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Contemporary
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Abbas Kassamany, Adham Afandi,
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Wajdi Abou Diab
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Longa & Samai' collection with
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W. Abou Diab
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Cello,Clarinet,Double Bass,English Horn,Euphonium,Flute,Guitar,Oboe,Piano Accompaniment,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Cello,Clarinet,Double Bass,English Horn,Euphonium,Flute,Guitar,Oboe,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet,Tuba,Vibraphone,Viola,Violin,Xylophone - Digital Download SKU: A0.892700 Composed by Abbas Kassamany, Adham Afandi, Ali Darwich, Andre Hajj, Antoine Zabita, Charbel Rouhana, Fadi Yaakoub, Jamil Bek Tanbouri, Marcel Khalifeh, Riyad Al Sembati, Sadi Islay, Tatyos Afandi, Wajdi Abou Diab, Wannis Waratanyan, and Ziad Ahmadieh. Arranged by Wajdi Abou Diab. Contemporary. Score and parts. 626 pages. W. Abou Diab #5025187. Published by W. Abou Diab (A0.892700). About this book This book aims to put some pieces from the classical Arabic repertoire in a form that can be presented in any classical chamber music concert along with the occidental repertoire, willing to give the Arabic music the opportunity to be performed more often by any professional musician, regardless of his musical background and languages, and to occupy a status in the program of the chamber music concerts worldwide. Chosen pieces from the wide Arabic classical repertoire, in addition to some works of contemporary Lebanese composers, arranged for solo instrument and piano, by the Lebanese composer Wajdi Abou Diab, with transposed/arranged parts for: - Instruments in C (Treble Clef)- Instruments in C (Alto Clef)- Instruments in C (Bass Clef)- Instruments in Bb- Instruments in A- Instruments in G- Instruments in F- Instruments in Eb- Instruments in D- Oud- Violin Index 01- Intro SoltaniYagah Sirto - Sadi Islay 02- Longa SoltaniYagah Sirto - Sadi Islay 03- Longa Hijazkar - Wannis Waratanyan 04- Longa Nahawand - Jamil Bek Tanbouri 05- Longa Riyad - Riyad Al Sembati 06- Longa Shahnaz - Adham Afandi 07- Longa Wajdi - Wajdi Abou Diab 08- Longa Nahawand - Marcel Khalifeh 09- Longa Abbas - Abbas Kassamany 10- Samai' Hijazkarkurd - Tatyos Afandi 11- Samai' Nahawand - Ali Darwich 12- Samai' Shad 'Erban - Jamil Baik Al Tanbouri 13- Samai' 'Ajam 'Oushayran - Jamil Baik Al Tanbouri 14- Samai' Hijazkar - Antoine Zabita 15- Samai' Lami - Fadi Yaakoub 16- Samai' Zikra - Charbel Rouhana 17- Samai' Al Massa' - Andre Hajj 18- Samai' Na'ess - Ziad AhmadiehFor any extra information, please contact us on E-mail: Wajdi.Abou.Diab@gmail.com Phone: 00961 70 180365
$29.00 ≈
¥210.50
Spanish Dance for Piano and Orchestra
Spanish Dance for Piano and Orchestra
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Piano and Orchestra
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ADVANCED
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Contemporary
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Joseph Hull
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Spanish Dance for Piano and Or
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Genesis
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SheetMusicPlus
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.98324...
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73 ≈
¥56.11
Fantasia for Piano and Orchestra
Fantasia for Piano and Orchestra
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Piano and Orchestra
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Contemporary
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Joseph Hull
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Fantasia for Piano and Orchest
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Genesis
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SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069115 Composed b...
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069115 Composed by Joseph Hull. Contemporary. Full Performance. Duration 318. Genesis #3514027. Published by Genesis (A0.1069115). This is the third movement from Fantasia for Piano and Orchestra. The full work contains four movements. .
$1.99 ≈
¥14.44
Ballade for Piano and Orchestra No.1
Ballade for Piano and Orchestra No.1
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Piano and Orchestra
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Contemporary
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Joseph Hull
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Ballade for Piano and Orchestr
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Genesis
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SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069109 Composed b...
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069109 Composed by Joseph Hull. Contemporary. Full Performance. Duration 47. Genesis #3014325. Published by Genesis (A0.1069109). This work was begun in 2003. Since that time it has undergone a number of revisions, culminating in its final form in 2016. It has three movements labeled: 1. Andante con moto 2. Allegro 3. Un poco allegretto. I do not think of this as a concerto but a freely expressed piece tied to no particular form. The piano is dominant throughout providing ample opportunity for virtuosity. A full orchestra is employed .
$3.99 ≈
¥28.96
Spanish Dance for Piano and Orchestra
Spanish Dance for Piano and Orchestra
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Piano and Orchestra
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Contemporary
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Joseph Hull
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Spanish Dance for Piano and Or
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Genesis
#
SheetMusicPlus
Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069110 Composed by Joseph Hull....
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Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Trombone,Trumpet,Tuba,Viola,Violin - Digital Download SKU: A0.1069110 Composed by Joseph Hull. Contemporary. Full Performance. Duration 234. Genesis #3017735. Published by Genesis (A0.1069110).
$3.99 ≈
¥28.96
Song of My Children for Piano Quartet
Song of My Children for Piano Quartet
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Piano Quartet: piano, violin, viola, cello
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ADVANCED
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Contemporary
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James Gardner
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Song of My Children for Piano
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James Gardner
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SheetMusicPlus
Small Ensemble Clarinet,Flute,Piano,Violin - Level 5 - Digital Download SKU: A0.982071 Composed by James Gardner. Contemporary. Score and parts. 36 pages...
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Small Ensemble Clarinet,Flute,Piano,Violin - Level 5 - Digital Download SKU: A0.982071 Composed by James Gardner. Contemporary. Score and parts. 36 pages. James Gardner #6074275. Published by James Gardner (A0.982071). I wanted to set a precious memory I had from a time when two of my children were quite young. My daughter Cassi was only 1 year old or so, and my son Christopher about 8. I was holding my little Cassi in my lap and Christopher was running back and forth through the living room in his Batman cape, pretending to be his hero at that moment! This memory would come and go for me over the next few years until I began to find musical themes for each child and determined to compose a tone poem with them.
$8.99 ≈
¥65.26
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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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 - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download 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)
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Clarinet, Violin, Cello, Piano
