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Martin Mayer - Reverence
Martin Mayer - Reverence
#
Piano solo
#
ADVANCED
#
New Age
#
Contemporary
#
Martin Mayer
#
Martin Mayer - Reverence
#
Martin Mayer Music Inc.
#
SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1001882 Composed by Martin Mayer. 20th Century,Contemporary,New Age. Score. 8 pages. Martin Mayer Music I...
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Piano Solo - Level 5 - Digital Download SKU: A0.1001882 Composed by Martin Mayer. 20th Century,Contemporary,New Age. Score. 8 pages. Martin Mayer Music Inc. #6310073. Published by Martin Mayer Music Inc. (A0.1001882). GET THE SOLO PIANO PIECE REVERENCE FROM CANADA'S PRINCE OF PIANOLearn to play Reverence as performed by Martin Mayer on his album Unbreakable. Notated so that you can learn the piece exactly as recorded, this digital sheet music is delivered to you right away!ABOUT MARTIN MAYERCanada's Prince of Piano – that's how the Beijing Times, China's leading English-language newspaper, described Canadian pianist and composer Martin Mayer.Born in the Czech Republic, and now based in Vancouver, Canada, his music has been defined as instrumental fusion – a combination of smooth jazz, classical, pop, and rock. Mayer's European roots add a good share of thoughtful and longing soul, his North American education contributes a healthy dose of high-octane energy. An explosive mix.Canada's National Post predicts that Mayer is poised to take over the world stage, while VOGUE Taiwan opines that the pianist's passion for music ... can only be described as breath-taking. The A&R Factory Music Blog declares: Thankfully there are artists such as Martin Mayer to inject a bit of excitement and panache into the format of the pop-piano, while Smoothjazz.com Global Radio concludes that Martin Mayer is Canada’s premier pianist & composer!ABOUT THE PIECEComposer & PerformerMartin MayerPublisherMartin Mayer Music Inc. (SOCAN/ASCAP)Duration4:31FOLLOW MARTINwww.martinmayermusic.comwww.facebook.com/iammartinmayerwww.instagram.com/iammartinmayer
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Concerto
Concerto
#
Piano and Orchestra
#
ADVANCED
#
Contemporary
#
Gyorgy Ligeti
#
Concerto
#
Schott Music - Digital
#
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)
$23.99 ≈
¥174.48
Sonata
Sonata
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Piccolo, Piano
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ADVANCED
#
Contemporary
#
Francis Poulenc
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Zellev
#
Sonata
#
Zellev Music
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SheetMusicPlus
Instrumental Solo,Piano,Piccolo - Level 5 - Digital Download SKU: A0.1284442 Composed by Francis Poulenc. Arranged by Zellev. 20th Century,Broadway,Class...
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Instrumental Solo,Piano,Piccolo - Level 5 - Digital Download SKU: A0.1284442 Composed by Francis Poulenc. Arranged by Zellev. 20th Century,Broadway,Classical,Film/TV,Musical/Show. Score and individual part. 8 pages. Zellev Music #875614. Published by Zellev Music (A0.1284442). Key Signature: NaturalTime Signature: 3/4Tempo: Peacefully (66)Difficulty: AdvancedThe Sonate pour houtbois et piano, FP 185, is an oboe sonata by Francis Poulenc dates from 1962. It is dedicated to the memory of Sergei Prokofiev. extreme scoring is apparent in the first movement; the starting theme which is very high and the player must be skilled to control the notes and keep them in tune.
$5.00 ≈
¥36.37
Sonatina For Clarinet And Bass Clarinet (Originally for clarinet and bassoon)
Sonatina For Clarinet And Bass Clarinet (Originally for clarinet and bassoon)
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2 Clarinets (duet)
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ADVANCED
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Geraldine Green
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Sonatina For Clarinet And Bass
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Geraldine
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SheetMusicPlus
B-Flat Clarinet,Bass Clarinet,Instrumental Duet - Level 5 - Digital Download SKU: A0.1313715 Composed by Geraldine Green. 21st Century,Chamber,Classical,...
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B-Flat Clarinet,Bass Clarinet,Instrumental Duet - Level 5 - Digital Download SKU: A0.1313715 Composed by Geraldine Green. 21st Century,Chamber,Classical,Contemporary. 46 pages. Geraldine (Denny) Green at Oakmountmusic #902441. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1313715). ALL PURCHASES COME WITH SCORE AND PARTSPlease note: This is the arrangement for clarinet and bass clarinet!The Sonatina For Bflat Clarinet And Bassoon was written between March and June 2018 and is dedicated to my good bassoonist friend Jane Thompson and her family. It was her husband, Astley Jones, who asked me to write the piece as a way of showing her how much we all loved her! I thought that was the sweetest thing and the rest is history!We hoped to give this piece its world premiere at some point in 2018 or 2019, with Jane herself playing the bassoon and myself on clarinet. However, the first major hurdle was Jane having an operation on each hand to cure her Carpal Tunnel Syndrome, and the second big hurdle was Covid-19! Due to life’s normal pressures, the work still awaits its long awaited for premiere.It has three movements, fast, slow, fast, and a total duration of approximately 15 minutes.I have also transcribed the bassoon part for bass clarinet so the piece can be played by either combination. It could even be played by two bass clarinets, which would be hilarious!I feel, as a player myself, that its main challenge is in sheer breathing and playing stamina as it certainly gets you working up a sweat by the end, but its comical, quirky character will hopefully make it great fun for players and audience alike.
$24.00 ≈
¥174.56
Sonatina For Clarinet And Bassoon
Sonatina For Clarinet And Bassoon
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Clarinet, Bassoon (duet)
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ADVANCED
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Geraldine Green
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Sonatina For Clarinet And Bass
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Geraldine
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SheetMusicPlus
B-Flat Clarinet,Bassoon,Instrumental Duet - Level 5 - Digital Download SKU: A0.1313712 Composed by Geraldine Green. 21st Century,Chamber,Classical,Contem...
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B-Flat Clarinet,Bassoon,Instrumental Duet - Level 5 - Digital Download SKU: A0.1313712 Composed by Geraldine Green. 21st Century,Chamber,Classical,Contemporary. 47 pages. Geraldine (Denny) Green at Oakmountmusic #902438. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1313712). ALL PURCHASES COME WITH SCORE AND PARTSThe Sonatina For Clarinet And Bassoon was written between March and June 2018 and is dedicated to my good bassoonist friend Jane Thompson and her family. It was her husband, Astley Jones, who asked me to write the piece as a way of showing her how much we all loved her! I thought that was the sweetest thing and the rest is history!We hoped to give this piece its world premiere at some point in 2018 or 2019, with Jane herself playing the bassoon and myself on clarinet. However, the first major hurdle was Jane having an operation on each hand to cure her Carpal Tunnel Syndrome, and the second big hurdle was Covid-19! Due to life’s normal pressures, the work still awaits its long awaited for premiere.It has three movements, fast, slow, fast, and a total duration of approximately 15 minutes. The clarinet part is for Bflat clarinet.I have also transcribed the bassoon part for bass clarinet so the piece can be played by either combination. It could even be played by two bass clarinets, which would be hilarious!I feel, as a player myself, that its main challenge is in sheer breathing and playing stamina as it certainly gets you working up a sweat by the end, but its comical, quirky character will hopefully make it great fun for players and audience alike.
$24.00 ≈
¥174.56
Sonata for 6 Players
Sonata for 6 Players
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Hans Werner Henze
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Sonata for 6 Players
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Schott Music - Digital
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SheetMusicPlus
Fl. (auch Altfl. u. 2 Sistr.) · Klar. (auch Bassklar., Kb.-Klar. ad lib. u. Handgl.) - S. (P. · Crot. · Marimba · chin. Glöckchen · Beck. ·...
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Fl. (auch Altfl. u. 2 Sistr.) · Klar. (auch Bassklar., Kb.-Klar. ad lib. u. Handgl.) - S. (P. · Crot. · Marimba · chin. Glöckchen · Beck. · Gong · 2 Tamt. · gr. Tr. · Log Drum) - Klav. (auch Cel.) - Vl. (auch Va. u. Handgl.) · Vc. (auch Handgl.) ensemble - difficult - Digital Download SKU: S9.Q2922 Composed by Hans Werner Henze. This edition: score. Downloadable, Score. Duration 12 minutes. Schott Music - Digital #Q2922. Published by Schott Music - Digital (S9.Q2922). Hans Werner Henze used original music by Scarlatti, Handel and Vivaldi to evoke the baroque lifestyle for a TV film of José Montes-Baquer based on the novella Concierto Barocco by the Cuban Alejo Carpentier; the film music of L’amour à mort by the French master director Alain Resnais was turned into a sonata by Henze.Filmmusik zu Alain Resnais‘ Film „L’amour à mort Alain Resnais hatte mich gebeten, das Vor-, Zwischen- und Nachspiel der Filmmusik so zu schreiben, daß diese den drei Hauptabschnitten, Sätzen bzw. Strukturen untergeordnet wären: Das Vor-spiel war sonatenförmig, das Zwischenspiel als Arie angelegt und das Nachspiel schließlich eine Passacaglia. Die Form sowie das Fortschreiten dieser drei Sätze stehen im direkten Zusammenhang mit der Struktur des Films. Die Sonate enthält zwei kontrastierende Hauptelemente. Hiervon be-zieht sich das eine auf Elisabeth und ihre Ekstase der Liebe und Furcht; das andere verkörpert Bedrohung, Angst und tonales Symbol, das mit der ständig wachsenden Zahl von den Tod betref-fenden Bildern sowie der Faszination, die diese auf Simon aus-üben, in Zusammenhang steht. Der Sonatensatz endet mit dem Tod von Simon. Der zweite Satz, die MELODIE voller tragischer Akzente und versteckter Anspielungen auf Symbole und Gestik der Oper des 18. Jahrhunderts, enthält Hinweise auf den thematischen Stoff des ersten Satzes. Resnais bezeichnet dies als „la separation (die Trennung). Hierbei geht es um die Zeit zwischen Simons Tod und Elisabeths Entscheidung, ihm zu folgen. Im Film wird die MELODIE (deren Zeilen eine fast buchstäbliche Umsetzung des gesprochenen Textes sind, wie z.B. „je te promets (ich verspreche Dir), durch die Handlung und die Dialoge in regelmäßigen Abständen durchbrochen, jedoch dann immer wieder aufgenommen. Vom Konzept her soll sie durchgängig gespielt werden. Die MELODIE verklingt ganz allmählich und nähert sich dem Rezitativ, ja Ausruf, so als wolle sie Elisabeth in ihrem Klagen und ihren Schmerzensschreien unterstützen und mit ihr sagen: „Je déteste la vie sans Simon (Ich verabscheue ein Leben ohne Simon). Die Passacaglia am Schluß stellt „le départ (den Abschied) dar. Der Bass, in der Regel von der Pauke gespielt, besteht aus den hohen Noten des Themas, das (von der Bassklarinette) im 1. Satz eingeführt worden war, um Simon im Reich der Toten zu zeigen. Fragmente und Erinnerungen an vorausgegangene Ereignisse werden durch den beharrlichen Bass im Herzschlag Rhythmus eingeworfen, wobei die Musik aus dem Reich der Toten allmählich von den untersten Registern, gleichsam einer Flut, aufsteigt, den gesamten Raum einnimmt und letztlich alles andere überdeckt und auslöscht. -Hans Werner Henze.
$34.99 ≈
¥254.49
Horn Sonata No. 1 (Complete)
Horn Sonata No. 1 (Complete)
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French horn
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ADVANCED
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Mike Lyons
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Horn Sonata No. 1
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Lyons Music Services
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SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.767341 Composed by Mike Lyons. Concert,Contemporary. Individual part. 8 pages. Lyons Music Services...
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French Horn Solo - Level 5 - Digital Download SKU: A0.767341 Composed by Mike Lyons. Concert,Contemporary. Individual part. 8 pages. Lyons Music Services #3514991. Published by Lyons Music Services (A0.767341). This is a brand new piece composed for French Horn without accompaniment. It has three movements all connected by the opening material of the first movement. I am publishing this piece as separate movements as well as a complete edition. 1st. Movement: The opening movement is marked andante. It opens with a repeated tonic followed by an arpeggiated 1/16th figure with a closing descending scale. These three ideas form the basic musical material for the whole sonata. Throughout the first movement these three ideas are transformed and manipulated, expanded and contracted while maintaining a clear musical structure (basically Ternary form). As with sonata form, the final reprise of the original ideas is transformed by their 'journey'. The style of the music is rather like a Bach partita for solo instrument. The movement takes the player through most of the horn's range, but does not require any extended techniques, so should be handleable by moderately skilled players. 2nd. Movement: This slow movement requires excellent breath control. It uses the repeated not idea from the 1st movement to open, expanding the rhythm to create a rather melancholy pattern. Later, the scalic 1/16th are utilised to link to the Più mosso section where the arpeggio idea (this time descending) helps to create a feeling of wide open space and emptiness. The player is in an empty universe, drifting slowly away as the dynamics become ever quieter until the ending at ppp. 3rd. Movement: This movement opens with a similar idea to the previous two, but at a fairly quick Allegro (quarter = 132) and using arpeggios in triplets to drive the music through. The dotted half noes with crescs at the end of the phrase should really be pushed into brassiness at the end of the cresc. I ask the player to do rip glisses, some of them difficult to achieve, and also gestopft and 'half stopped'. Although these are 'hand horn' techniques that survive from before the invention of valves, they are still useful to create a different effect than from standard mutes. Where these techniques are asked for, a silvery, ethereal tone is required as a contrast to the brash 'hunting horn' style of the outer sections of the movement. The middle part of this movement is quasi a cadenza. The stopping instructions are intended to have an effect on the tuning as well as the timbre of the notes. The first pair of each group of three should be slurred smoothly. The final section reprises the beginning of the movement, but at breakneck speed. quarter = 144 is advisory only. The faster the better. This movement again makes use of the extremes of the horn's range and makes high demands on stamina and tonguing.
$18.00 ≈
¥130.92
Layers 1
Layers 1
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Celebrity Chamber Players
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Layers 1
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Father Ambrose Press
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SheetMusicPlus
Harmonica,Percussion,Vibraphone - Level 5 - Interactive Download SKU: A0.1317126 By Celebrity Chamber Players. By Dr. Marshall Thomas. This edition: Inte...
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Harmonica,Percussion,Vibraphone - Level 5 - Interactive Download SKU: A0.1317126 By Celebrity Chamber Players. By Dr. Marshall Thomas. This edition: Interactive Download. Children,Classical,Film/TV. 20 pages. Duration 96. Father Ambrose Press #7PGMSxkzKhRCVNtahF9EDy. Published by Father Ambrose Press (A0.1317126). Key: G major.Layers is a comparatively long confection for 2 harps, marimba, vibraphone and a modified ostinato undertow...
$19.00 ≈
¥138.19
Sonata #5 in B-flat minor
Sonata #5 in B-flat minor
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Piano solo
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ADVANCED
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Contemporary
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James Domine
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Sonata #5 in B-flat minor
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Earth Music, Ltd.
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.976507 Composed by James Domine. 20th Century,Concert,Contemporary. Score. 31 pages. Earth Music, Ltd. #2...
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Piano Solo - Level 5 - Digital Download SKU: A0.976507 Composed by James Domine. 20th Century,Concert,Contemporary. Score. 31 pages. Earth Music, Ltd. #2081747. Published by Earth Music, Ltd. (A0.976507). This sonata is a solo transcription of the first movement of Domine’s Piano Concerto #1 in B-flat minor. The sonata begins with a slow introduction that juxtaposes two opposite harmonic realms represented by the interval of a diminished fifth. As the opening sequence drifts aimlessly through a cloud of amorphous sonorities, the principal theme is suddenly and aggressively thrust center stage by an angry theme marked Agitato. This theme wends its torturous way to the contrastingly quiet subordinate theme. An episode of melancholic discourse ensues, creating an air of confidential intimacy. The exposition ends with an elided dominant cadence which is left unresolved and that leads directly to the development section. Chord clusters built on hexachords provide a serialized variation on the principal theme. This tripartite antiphonal sequence works toward a culmination as the theme is expanded in rhythmic layers, finally reaching a cacophonic explosion. A retransition based on the slow introduction leads to the recapitulation, this time with alternating variations on the principal theme. After the lyrical restatement of the subordinate theme, the coda confronts us with a starkly bleak musical atmosphere that concludes with a fiery flourish. This transcription was made at the request of piano pedagogue Joanna Ezrin for Vera Weber, who has played it to great acclaim in numerous competitions and recitals.
$8.95 ≈
¥65.10
Marriage Prayers (2001)
Marriage Prayers (2001)
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Gerald W
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Marriage Prayers
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Gerald W. Gabbard
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SheetMusicPlus
High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1012802 Composed by Gerald W. Gabbard. Contemporary,Sacred,Wedding. 9 pages. Gerald W. Gabbard...
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High Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1012802 Composed by Gerald W. Gabbard. Contemporary,Sacred,Wedding. 9 pages. Gerald W. Gabbard #5361491. Published by Gerald W. Gabbard (A0.1012802). A song for high voice and piano using text from the Episcopal Book of Common Prayer (1979). Written on the occasion of the composer's brother's wedding in 2001. Alternate text suggested (loving couple), instead of just man and woman for an inclusive setting of this beautiful prayer.
$6.99 ≈
¥50.84
Sonata for Harp, Op. 17
Sonata for Harp, Op. 17
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Harp
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ADVANCED
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Contemporary
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Tyler J
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Sonata for Harp, Op. 17
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TJHoltMusic
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SheetMusicPlus
Harp - Level 5 - Digital Download SKU: A0.1021624 Composed by Tyler J. Holt. Contemporary. Score. 28 pages. TJHoltMusic #6137483. Published by TJHoltMusi...
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Harp - Level 5 - Digital Download SKU: A0.1021624 Composed by Tyler J. Holt. Contemporary. Score. 28 pages. TJHoltMusic #6137483. Published by TJHoltMusic (A0.1021624). Sonata for Harp, Op. 17 was composed out of the desire to write for an instrument I had not previously written for at the time. The themes used throughout the entire sonata are revolved around the limitations of the harp pedals.The first movement, in Bb major, utilizes Sonata-Allegro form and revolves around the dialogue of two themes and constant motion, which are developed further in the development section. Structurally and tonally, the principles of this form, as well as the piece overall, is applied is the same as in a Mozart piece.The second movement, in E major, which is the tritone to Bb, is in ternary form and opens with a melody that represents prayer. Following this prayer is a chorale that gradually becomes more grandiose in nature. A motive of loud planing chords is the answer to this prayer, which is followed by the softer motive that transitions into the next section. The theme is a simple melody containing planing fifths in the left hand, which is accompanied by ornamentation in the right hand. In the final section, a combination of themes, including the initial prayer motive and chorale motive, return and closes the movement.The third movement, in Bb major, is also in ternary form with rondo-esque tendencies. One central theme culminates the final movement of this sonata, which is brought through different tonal centers. Furthermore, it is presented in the form of a waltz in the middle section of the piece. While joyful in nature, there are humorous moments such as terrace dynamics implanted to surprise and keep the listener engaged throughout the movement.I. Allegro giojosoII. Adagio religiosoIII. Allegro con colore - ValseComposed by Tyler J. HoltPublished by TJHoltMusicCopyright © Tyler J. Holt, Composer
$20.00 ≈
¥145.46
Violin Sonata No.3
Violin Sonata No.3
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Violin and Piano
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ADVANCED
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Han-Ki Kim
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Violin Sonata No.3
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Han-Ki Kim
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SheetMusicPlus
Piano,Violin - Level 5 - Digital Download SKU: A0.518941 Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Instructional,Traditional. 44 pages....
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Piano,Violin - Level 5 - Digital Download SKU: A0.518941 Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Instructional,Traditional. 44 pages. Han-Ki Kim #129613. Published by Han-Ki Kim (A0.518941). Violin Sonata No. 3 “Korean Beauty†Op.289 Sonata No. 3 is a music composed of Korean folk songs, nursery rhymes, and rhythms. The 1st movement was composed in a traditional sonata form with two opposing themes following a short introduction, “Jindo Arirang†and the rhythms of “Semachi†were cited. In the 2nd movement, the lyrical beauty is expressed using the theme of “Arirang,†which is the most representative Korean folk song and is well known worldwide. And for 3rd movement, the Korean nursery rhyme “Eolle Kollery†is cited, which is based on a four-time system, is used to express a humorous atmosphere. For reference, “Eollekoleri†is a language used by children to make fun of others. The last 4th movements are in the rondo form of ABACAD, and between the A and A subjects, three different folk songs, “Miryang Arirangâ€, Cheonan Samgeori(Three-way Intersection), and “Saeya Saeya Palangsaeyaâ€(Blue Bird) are cited, and at the same time, the Korean rhythms “Kutkori†and “Jajinmori†and Semachi were comprehensively cited. Due to the characteristic of the 4th movement in which the theme is used in layers, it was given the nickname “Korean Folk Song Sandwichâ€. This Sonata No. 3 was selected as a designated piece in the first final competition to commemorate the late Kwon Hyuk-ju, and was premiered worldwide by 5 finalists. Attached music file is 2,4movement just for a reference.
$14.99 ≈
¥109.03
Prayers for Piano
Prayers for Piano
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Piano solo
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ADVANCED
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Sacred music
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Nicholas Carroll
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Nicholas Carroll
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Prayers for Piano
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Nicholas Carroll
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1319049 By Nicholas Carroll. By Nicholas Carroll. Arranged by Nicholas Carroll. Contemporary,New Age,Roma...
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Piano Solo - Level 5 - Digital Download SKU: A0.1319049 By Nicholas Carroll. By Nicholas Carroll. Arranged by Nicholas Carroll. Contemporary,New Age,Romantic Period. Score. 45 pages. Nicholas Carroll #907647. Published by Nicholas Carroll (A0.1319049). This collection of poetic piano solos evokes the contemplative nature of prayer in a style often compared to Debussy.
$9.99 ≈
¥72.66
Savior, Like a Shepherd Lead Us | advanced piano solo
Savior, Like a Shepherd Lead Us | advanced piano solo
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Piano solo
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ADVANCED
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William B
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Heather Knezevich
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Much we need Thy tender care
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Savior, Like a Shepherd Lead U
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Songs of Praise
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1195682 Composed by William B. Bradbury / Jessie S. Irvine. Arranged by Heather Knezevich. Christian,Reli...
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Piano Solo - Level 5 - Digital Download SKU: A0.1195682 Composed by William B. Bradbury / Jessie S. Irvine. Arranged by Heather Knezevich. Christian,Religious. Score. 5 pages. Songs of Praise #794859. Published by Songs of Praise (A0.1195682). This classic hymn has been arranged for advanced piano solo with The Lord's My Shepherd, a simple hymn based on Psalm 23. The words are included so the performer can meditate on the text while playing. The first verse begins reflectively with a single-note melody and LH broken chord pattern. Savior, like a shepherd lead us; Much we need Thy tender care. After a simple modulation, it moves to the second hymn, The Lord's My Shepherd. It builds up to a second verse of this hymn in a new key with triplet LH arpeggios.With exuberance, the arrangement reaches a climax with a final verse of Savior, Like a Shepherd. (An easier alternate version of the RH arpeggios is included.) It ends piano in a similar style to the beginning. The arranger is an active church musician. My prayer is that this arrangement will lift your spirits and inspire your worship!
$3.99 ≈
¥29.02
A Prayer for Ukraine
A Prayer for Ukraine
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Guitar
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ADVANCED
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Benjamin Grace
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A Prayer for Ukraine
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Benjamin Grace
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SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.1203236 Composed by Benjamin Grace. Christian. Individual part. 1 pages. Benjamin Grace #801910. Publish...
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Solo Guitar - Level 5 - Digital Download SKU: A0.1203236 Composed by Benjamin Grace. Christian. Individual part. 1 pages. Benjamin Grace #801910. Published by Benjamin Grace (A0.1203236). A classical guitar composition Lamenting the war against Ukraine. Our thoughts and prayers for peace are with you. All proceeds will be donated to the Red Cross efforts in Ukraine.
$4.99 ≈
¥36.29
Sonata for Soprano Saxophone and Piano
Sonata for Soprano Saxophone and Piano
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Soprano Saxophone and Piano
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ADVANCED
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Jazz
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Brett L
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Sonata for Soprano Saxophone a
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Sonata Grendel Publishing
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SheetMusicPlus
Piano,Soprano Saxophone - Level 5 - Digital Download SKU: A0.837485 Composed by Brett L. Wery. 20th Century,Concert,Contemporary,Jazz. Score and part. 53...
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Piano,Soprano Saxophone - Level 5 - Digital Download SKU: A0.837485 Composed by Brett L. Wery. 20th Century,Concert,Contemporary,Jazz. Score and part. 53 pages. Sonata Grendel Publishing #4346989. Published by Sonata Grendel Publishing (A0.837485). Samuel Detweiler is a superb musician and accomplished saxophonist, equally at home in both jazz and classical idioms. Naturally, I was thrilled when Sam told me of his plans to commission a work that incorporated improvisation in what would otherwise be a neo-classical sonata form. The result is a piece that is technically demanding for most classical saxophonists but also requires a reasonable amount of proficiency in improvisation. Much of classical music is driven by development (the restatement, fragmentation, exploitation, evolution, and eventual transformation of musical ideas). In this sonata much of the development is left to the performer. The first movement is in sonata allegro form with the development being largely improvised. The second movement leaves one entire statement of the form open for improvisation much like any jazz standard. The third movement is a sonata rondo, again, leaving the development section open for improvisation.This 17 minute piece is ideal for college and professional players. You can find information on Brett L. Wery’s music at: http://www.societyofcomposers.org/members/BrettL.Wery/ or follow him on Facebook at: https://www.facebook.com/werymusic/
$14.95 ≈
¥108.73
Doubt & Determination (An Epic Sonata of Indeterminacy)
Doubt & Determination (An Epic Sonata of Indeterminacy)
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Dennis Garretson
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Doubt & Determination
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Dennis Garretson
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SheetMusicPlus
Small Ensemble Flute,Soprano Saxophone,Tenor Saxophone,Violin - Level 5 - Digital Download SKU: A0.993652 Composed by Dennis Garretson. 20th Century,Baro...
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Small Ensemble Flute,Soprano Saxophone,Tenor Saxophone,Violin - Level 5 - Digital Download SKU: A0.993652 Composed by Dennis Garretson. 20th Century,Baroque,Contemporary. Score and parts. 5 pages. Dennis Garretson #4580777. Published by Dennis Garretson (A0.993652). Description:Doubt & Determination bridges the gaps between musical eras, as one would hear certain nuance that dates back to the Baroque era but possess a rather modern musical structure. The piece challenges both the listeners and the player themselves. For the public ears, one will have to adapt the performer's perspectives to 'feel' the piece. As the title suggests, both 'Doubt' and 'Determination' are two human perceptions that oppose each other, to understand the music is to find common grounds between them, through unexpected cadences and dynamic change. The performer will have to deliver the technicalities of bringing them together, through detail instructions on dynamics and tempo change. The piece is modeled in Sonata Form. however, it is to be approached with indeterminacy, occasionally granting the performer the freedom through Tempo Rubato and Breath Perceptions.Practice Suggestion:This music can only prevail through expression, thus the commitment for dynamic is of the utmost importance. It is highly suggested to understand what makes this piece unique, a score analysis is always a good start. Mark out the accents (Staccato and Emphasis) and the tempo change. Establish breathing points since the piece has very minimal instructions for that, it is hence highly dependent on the performer's capability to deliver.A proper mindset is essential for the perfect performance.Instrumentations:Certain instruments are optional if a soprano saxophone is proven unavailable. The permitted exceptions are Violins (high strings with nuance deliverance) and Woodwinds within the tenor and soprano range.About the ComposerDennis Garretson is young Pianist, Improviser and Composer.Born and raised in Hong Kong, he started as a self-taught composer in high school. and became increasingly influenced by Hollywood &Blockbuster sounds, which paved the way towards discovering his passion towards the realm of orchestral music & film scores. He produced his first soundtrack when he was 17 and secured his first Media Award in the 12th Annual Hong Kong Film Art Association for the best original composition.Currently pursuing a music degree in Nova Scotia Canada, Dennis has the honorable opportunity of studying under multi Juno nominated composer - Peter Togni. His style of writing could be described as - Adaptive Story Telling, allowing listeners to have their very own unique interpretations of what the music could be about while anchoring within reach of the composer's core idea. Dennis strives to be a composer of true versatility, albeit his primary interest remains committed to film scores. He has written in the styles of Schoenberg's 12-tone techniques and has gone as polar as modern movie and trailer music. His music has been commissioned for short films and could be heard on various media platforms.For work inquiry, please contact through social media.
$6.99 ≈
¥50.84
Horn Sonata No. 3 (Complete)
Horn Sonata No. 3 (Complete)
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French horn
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ADVANCED
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Mike Lyons
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Horn Sonata No. 3
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Lyons Music Services
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SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.767350 Composed by Mike Lyons. Concert,Contemporary. Individual part. 7 pages. Lyons Music Services...
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French Horn Solo - Level 5 - Digital Download SKU: A0.767350 Composed by Mike Lyons. Concert,Contemporary. Individual part. 7 pages. Lyons Music Services #3520235. Published by Lyons Music Services (A0.767350). This is my third new sonata for unaccompanied French horn. it has three movements as follows: Movement 1: Dance It begins with a crotchet theme which forms the basis of the rest of the movement. The opening should be stately and measured, but not slow. The echoes should be as quiet as possible for each statement of the opening motif. I have made a lot of use of rhythmic features in this movement. After the Maestoso, the 12/8 section is in the nature of a jig, with lots of repeated pitches and very rhythmical There's much use of syncopation. After I have played around with these ideas (intervals based on the opening) there is a more legato tune, also based on the opening music, but in a grander style and marked nobilmente. This is almost a processional, and leads to a reprise of the jig motifs in a new mode and with modifications to the rhythm. The second movement of this sonata is a set of 3 variations on an original tune. The melody is quite hymn-like and needs to be played as such. Very legato, with very slight tongue. Variation 1 is an 8th note variation, with a slight increase in tempo to help it to flow. The player will need to pay close attention to the written phrasing so as not to lose the theme. This variation is p throughout. Variation 2 is a triplet/sextuplet variation, again with a slight increase in tempo. This variation has turns, which I have written out in ossias above to be clear how I would like it to be played. Variation 3 is a semiquaver and glissando variation, requiring good tongue technique and clear phrasing. Breathing should be easy as I have made provision for breaths to mark the ends of phrases. Please don't change these! Finally, there is a restatement of the original theme with slight adaptations to bring the movement to a quiet finish. The third and final movement of the sonata is a rondo. The opening music keeps returning throughout the length of the movement. It comprises a stuttering rhythmic phrase with alternating upwards and downwards scales which gradually build up throughout the opening of the movement. Each time the ritornello idea returns it has been altered in some way. Between the ritornelli are slightly less frenetic sections of cantabile melodic ideas which hark back to both the first and second movements as well as referencing the scalic ideas from the third movement. Although the music is fast, it should be playable without resorting to triple tonguing.
$18.00 ≈
¥130.92
Sonata No. 3 for Horn and Piano
Sonata No. 3 for Horn and Piano
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French Horn and Piano
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ADVANCED
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Mike Lyons
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Sonata No. 3 for Horn and Pian
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Lyons Music Services
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SheetMusicPlus
French Horn,Piano - Level 5 - Digital Download SKU: A0.767581 Composed by Mike Lyons. 20th Century,Concert,Contemporary,Standards. Score and part. 38 pag...
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French Horn,Piano - Level 5 - Digital Download SKU: A0.767581 Composed by Mike Lyons. 20th Century,Concert,Contemporary,Standards. Score and part. 38 pages. Lyons Music Services #6457097. Published by Lyons Music Services (A0.767581). This is my third new sonata for French horn. it has three movements as follows: Movement 1: Dance It begins with a crotchet theme which forms the basis of the rest of the movement. The opening should be stately and measured, but not slow. The echoes should be as quiet as possible for each statement of the opening motif. I have made a lot of use of rhythmic features in this movement. After the Maestoso, the 12/8 section is in the nature of a jig, with lots of repeated pitches and very rhythmical There's much use of syncopation. After I have played around with these ideas (intervals based on the opening) there is a more legato tune, also based on the opening music, but in a grander style and marked nobilmente. This is almost a processional, and leads to a reprise of the jig motifs in a new mode and with modifications to the rhythm. The second movement of this sonata is a set of 3 variations on an original tune. The melody is quite hymn-like and needs to be played as such. Very legato, with very slight tongue. Variation 1 is an 8th note variation, with a slight increase in tempo to help it to flow. The player will need to pay close attention to the written phrasing so as not to lose the theme. This variation is p throughout. Variation 2 is a triplet/sextuplet variation, again with a slight increase in tempo. This variation has turns, which I have written out in ossias above to be clear how I would like it to be played. Variation 3 is a semiquaver and glissando variation, requiring good tongue technique and clear phrasing. Breathing should be easy as I have made provision for breaths to mark the ends of phrases. Please don't change these! Finally, there is a restatement of the original theme with slight adaptations to bring the movement to a quiet finish. The third and final movement of the sonata is a rondo. The opening music keeps returning throughout the length of the movement. It comprises a stuttering rhythmic phrase with alternating upwards and downwards scales which gradually build up throughout the opening of the movement. Each time the ritornello idea returns it has been altered in some way. Between the ritornelli are slightly less frenetic sections of cantabile melodic ideas which hark back to both the first and second movements as well as referencing the scalic ideas from the third movement. Although the music is fast, it should be playable without resorting to triple tonguing.
$25.00 ≈
¥181.83
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