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Oscillation
Sheetmusic to print
53 sheet music found
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26
51
Oscillation
Oscillation
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Contemporary
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contrast, the string quartet h
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Jeremy Hart
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Oscillation
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Jeremy Graham Hart
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SheetMusicPlus
Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score ...
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Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pages. Jeremy Graham Hart #6590413. Published by Jeremy Graham Hart (A0.1028192). Oscillation began as an experiment in coordination of a melody and harmony which are based on different means of organization. To this end, the clarinet is treated separately from the string quartet. The clarinet melody is constructed by means of limited interval usage. In mm.1–3 it can be observed that the melodic intervals are strictly limited to the use of a major 2nd/minor 7th or a major 6th/minor 3rd. By contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key. In addition, despite the proliferation of non-chord tones and transitionary passages in the string quartets’ music, the stable harmonies are written to have fairly parsimonious motion between them (if one were to reduce out the NCTs etc.) The coordination of these two separate logics is done by the selection of anchor-pitches for the melodic phrases. For example, the melodic phrase in mm.4–7 oscillates around the pitch of G natural (transposed in the score), which it shares with the F major/minor 7th chord that is heard as the harmonic goal of the strings in m.7. The teleology of the work can largely be traced in its melodic construction. Its opening phrase of mm.1–3 is anchored on G natural and ends on a C sharp, a tritone above the anchor, to simulate a half-cadence effect. The second phrase of mm.4–7 is still written on G natural but it ends on G as well, forming the authentic cadence and establishing a basic period as well as the work’s first theme. This is followed by second period which represents a dominant relationship to the first. The phrase at mm.10–13.2 is a rather extended utterance in comparison to the first two and is anchored on D natural. This is followed by 4-stage call and response across the ensemble (excluding the second violin) that leads the first section to a close at m.16 on a C diminished triad. Melodically, the first section is characterised by its limited used of a major 2nd/minor 7th or a major 6th/minor 3rd interval. At m.17, the second section follows much the same process as the first, using anchor pitches as a means of coordination and formal definition, and alternating soloistic clarinet playing with activated harmonies in the strings. The primary difference is in the character of the second section’s theme with regards to its rhythmic profile as well as its intervallic content. Namely, these are limited to the use of a minor 3rd or minor 2nd and their inversions. The second section draws to a close at m.32, returning to the tonic harmony of the key. With the first and second sections complete, the work now proceeds into a developmental section. Mm.33–84 largely consists of development of the two themes by manipulation of intervallic content as well as adjusting the placement of the thematic material withing the accompanimental context. This does include juxtaposition of the two themes (though one typicall becomes integrated into to accompaniment) as can be seen between the violin and viola at m.39. Variety is heightened by the introduction of episodic material such as the secondary melody performed by the clarinet at mm.40–41. The Lento section starting at m.53 introduces further rhythmic and metric adjustment of the thematic content. A varied recapitulation occurs at mm.85–113 and is followed by a coda at mm.114–131.
$19.95 ≈
18.37€
The Secret Garden
The Secret Garden
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Harp
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INTERMEDIATE/ADVANCED
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Contemporary
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Zbigniew Antoni Preisner
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Rachael Acheson
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The Secret Garden
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TheHarpLibrarian
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SheetMusicPlus
Lever Harp - Level 4 - Digital Download SKU: A0.1415294 Composed by Zbigniew Antoni Preisner. Arranged by Rachael Acheson. 20th Century,Broadway,Children...
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Lever Harp - Level 4 - Digital Download SKU: A0.1415294 Composed by Zbigniew Antoni Preisner. Arranged by Rachael Acheson. 20th Century,Broadway,Children,Film/TV,Musical/Show. Score. 4 pages. TheHarpLibrarian #997026. Published by TheHarpLibrarian (A0.1415294). This recognizable theme from the 1993 film adaptation of The Secret Garden appears in several different tracks from the score, but most notably in Leaving the Docks and Showing Dickon Garden.I arranged the piece specifically for my 26-string Fullsicle Harpsicle harp, and it should fit on other small harp models with a similar range. But you can, of course, also play it on larger harp models (either lever or pedal), as well.Because the original version was a piano solo, I had to re-organize some of the left-hand chord structures to get it to fit the range of my small harp. But, even with this adaptation, I was able to keep it in the original key (two sharps, so D Major), meaning that owners of Sharpsicle Harpsicle models, and some Roosebeck Pakistani harps, should be able to play this piece, as well as Fullsicle Harpsicle model owners.There are no lever changes or extended techniques, but, at full-speed, the piece can prove much more challenging than it looks at first glance. In particular, I recommend practicing that quick, repetitive Alberti bass in the left-hand with a loose, exagerated oscillation movement to prevent tightness or injury. Also be wary of starting out at a speed that you can't maintain throughout the entirety of the performance. Meteronomes are your friend.Please note that the preview cuts off after the first half-page of score. When you download your purchase, you will recieve a pdf that contains both the preview and the full score.
$5.99 ≈
5.52€
Beethoven - Fur Elise (easy piano sheet)
Beethoven - Fur Elise (easy piano sheet)
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Easy Piano
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EASY
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Classical
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Music-holley
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Music-holley
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Beethoven - Fur Elise
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music-holley
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SheetMusicPlus
Easy Piano - Level 2 - Digital Download SKU: A0.1094839 By Music-holley. By Ludwig van Beethoven. Arranged by Music-holley. 19th Century, Classical, Mult...
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Easy Piano - Level 2 - Digital Download SKU: A0.1094839 By Music-holley. By Ludwig van Beethoven. Arranged by Music-holley. 19th Century, Classical, Multicultural, Romantic Period, Wedding,World. Score. 2 pages. Music-holley #698906. Published by music-holley (A0.1094839). Beethoven - Fur EliseEasy piano version, 2 pages.Bagatelle No. 25 in A minor, commonly known as Für Elise (For Elise), is one of Ludwig van Beethoven's most popular compositions. It was not published during his lifetime, only being discovered 40 years after his death. It is not certain who Elise was, maybe she was a close friend of Beethoven and probably an important figure in his life.The piano solo piece begins with a flowing melody marked Poco moto (literally a little motion,), with an arpeggiated left hand accompaniment. The unaccompanied oscillation between the note E and its chromatic lower note D-sharp that begins the melody has become one of the most recognizable openings in classical music.
$4.99 ≈
4.59€
The Tale Of The Slightly Miffed Dancing Bear
The Tale Of The Slightly Miffed Dancing Bear
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James Pickering
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The Tale Of The Slightly Miffe
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Forton Music - Digital
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SheetMusicPlus
Tba. pft. - Intermediate-Advanced - Digital Download SKU: F2.FM597 Composed by James Pickering. A piece for Tuba and piano. Score and part. 14 pages. For...
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Tba. pft. - Intermediate-Advanced - Digital Download SKU: F2.FM597 Composed by James Pickering. A piece for Tuba and piano. Score and part. 14 pages. Forton Music - Digital #FM597. Published by Forton Music - Digital (F2.FM597). ISBN 9790570484966.The story of this composition really begins with another composition entitled 'Play-Time' for solo piano. I showed the score for 'Play-Time' to a friend, Boryana Petkova a very talented pianist from Bulgaria, to whom I eventually dedicated 'the Dancing Bear'. After showing her 'Play-Time' she commented that part of it sounded like a Bulgarian folk dance. The potential of this intrigued me quite a lot so I sketched out a few bars intent on writing another piano piece based around this idea (the melodic line first heard in the Tuba part in the fifth bar after letter A). However, upon discussing these sketches with Boryana she mentioned they no longer sounded particularly Bulgarian. As this was the main aim of the sketches that eventually became 'The Dancing Bear' it is fair to say I was slightly miffed. Undeterred I decided to shift focus and write for the instrument I knew best, the Tuba. The 'Bear' part of the title refers to the tendency of composers to use Tubas to represent angry bears, most famously in Stravinsky's ballet 'Petrushka'. Musically it still contains quite a few elements of eastern European dance including the use of drones, some typical scales with flattened seconds and sevenths as well as the rhythmic oscillation between bars of 2,2,2,2 and 3,3,2 quaver (8th note) division. However, the goal for me was to writes a slightly humorous piece, with a technically demanding Tuba part, that could show off the musicians abilities and still retain the feel of a rhythmical dance.
$7.95 ≈
7.32€
Form From Chaos - Pedal Harp Solo
Form From Chaos - Pedal Harp Solo
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Harp
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INTERMEDIATE
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Contemporary
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Samantha Ballard
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Form From Chaos - Pedal Harp S
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Samantha Ballard
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SheetMusicPlus
Harp - Level 3 - Digital Download SKU: A0.865622 Composed by Samantha Ballard. Contemporary. Score. 4 pages. Samantha Ballard #3425201. Published by Sama...
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Harp - Level 3 - Digital Download SKU: A0.865622 Composed by Samantha Ballard. Contemporary. Score. 4 pages. Samantha Ballard #3425201. Published by Samantha Ballard (A0.865622). Form from Chaos is a mysterious and enigmatic composition for solo pedal harp featuring an ostinato moving by half-step, which settles partway through the pieces into a more lyrical diatonic section before moving back into more chromatic chords.Inspired by images of a wizard's domain, Form from Chaos depicts a strange, shifting reality that isn't quite settled, changing shape and form as you move through it.Harp techniques: Oscillation, grace notes, single-handed arpeggios, hand-over hand arpeggios.
$4.99 ≈
4.59€
Melodia Op.129 N.4 for String Quartet (MP3)
Melodia Op.129 N.4 for String Quartet (MP3)
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String Quartet: 2 violins, viola, cello
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Max Reger
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Cristiano Vecchi
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Melodia Op.129 N.4 for String
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Cristiano Vecchi
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SheetMusicPlus
Cello,Viola,Violin - Digital Download SKU: A0.1066512 Composed by Max Reger. Arranged by Cristiano Vecchi. Contemporary,Instructional,Romantic Period,Sta...
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Cello,Viola,Violin - Digital Download SKU: A0.1066512 Composed by Max Reger. Arranged by Cristiano Vecchi. Contemporary,Instructional,Romantic Period,Standards. Full Performance. Duration 183. Cristiano Vecchi #6561075. Published by Cristiano Vecchi (A0.1066512). An intimate and passionate melody by Max Reger, with a hypnotic oscillation between major and minor and a rich, charming accompaniment in post Wagnerian harmony. Here arranged for Violin 1 & 2, Viola, Cello, transposed a tone above respect to the original for Organ. Duration: 3'. Score and parts (with extra parts for several instruments) also available on this website.My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$1.99 ≈
1.83€
3.4/20/34 Angstrom - Full Set
3.4/20/34 Angstrom - Full Set
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Contemporary
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Nick Raspa
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3.4/20/34 Angstrom - Full Set
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NJR Music
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SheetMusicPlus
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.754150 Composed by Nick Raspa. 20th Century. Score and parts. 46 pages. NJR Music #206...
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.754150 Composed by Nick Raspa. 20th Century. Score and parts. 46 pages. NJR Music #2069333. Published by NJR Music (A0.754150). The title of this piece is the spacial configuration of the DNA molecule. The physical representation of the molecule, in this work, is from that of the outside observer. The DNA molecule, as we know, is represented as a curved ladder. The rungs of the ladder contain all the vital information necessary for us to be individuals. The rungs are held in place by vertical structures much like that of the standard ladder. This ladder is often depicted as swiveling and, as such, the rungs of the ladder are quite visible at times and disappear at other times. The outsider observer will see those rungs for a period of time and, as the ladder swivels, the rungs disappear and all that is visible, to the observer, are the vertical structures. The physical representation of the swiveling DNA molecule is represented musically with the quartet moving back and forth between a monophonic and polyphonic. There are also variations in tempo which relate to the movement between the monophonic and polyphonic states (a speeding up during the approach to viewing only the vertical braces). The philosophical perspective relates to the fact that this molecule is common to all of humanity at the same time that it separates each and every one of us. It is ironic that something that keeps all of us separate, at the same time unifies us. There is no doubt that we are all unified, yet intrinsically different. Being cut from the same (high grade) cloth, we are all the same, and yet, we may have different colors and patterns. The piece ends with an oscillation between two pitches ultimately resolving to one pitch.
$65.00 ≈
59.85€
Melodia Op.129 N.4 for String Quartet
Melodia Op.129 N.4 for String Quartet
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String Orchestra
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INTERMEDIATE
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Max Reger
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Cristiano Vecchi
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Melodia Op.129 N.4 for String
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Cristiano Vecchi
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SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.963574 Composed by Max Reger. Arranged by Cristiano Vecchi. Concert,Contemporary,Instructional,Roma...
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String Orchestra - Level 3 - Digital Download SKU: A0.963574 Composed by Max Reger. Arranged by Cristiano Vecchi. Concert,Contemporary,Instructional,Romantic Period,Standards. Score and parts. 14 pages. Cristiano Vecchi #6561063. Published by Cristiano Vecchi (A0.963574). An intimate and passionate melody by Max Reger, with a hypnotic oscillation between major and minor and a rich, charming accompaniment in post Wagnerian harmony. Here arranged for Violin 1 & 2, Viola, Cello, transposed a tone above respect to the original for Organ. Added extra parts (strings and several wind instruments for the melody, other strings for the accompaniment); the bass part can be doubled by a Double-Bass. Other possible combinations: 2 Violas & 2 Cellos, Flute and String Trio, Clarinet and String Trio, Cello Quartet, Violin Solo or Wind Instrument Solo and String Orchestra, etc...Duration: 3'. MP3 also available on this web site.My entire production on my Youtube Channel: https://www.youtube.com/channel/UCe9Kd87V90fbPsUBU5gaXKw/playlists
$3.99 ≈
3.67€
Symphony No. 3 in A minor, op. 17 (parts)
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestra
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ADVANCED
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #94204...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00 ≈
193.37€
Circles - Concerto for Cello & (H.S.) String Orchestra
Circles - Concerto for Cello & (H.S.) String Orchestra
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String Orchestra
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INTERMEDIATE/ADVANCED
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the end, everyone is bowing an
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Eric Moore
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Circles - Concerto for Cello &
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Cello Loft
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SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.878900 Composed by Eric Moore. Contemporary,Instructional,Standards. Score and parts. 83 pages. Cel...
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String Orchestra - Level 4 - Digital Download SKU: A0.878900 Composed by Eric Moore. Contemporary,Instructional,Standards. Score and parts. 83 pages. Cello Loft #3420919. Published by Cello Loft (A0.878900). Written for an advanced high school cellist to play with his/her own school orchestra. This is a great way to feature a fantastic cellist while introducing the whole orchestra (and audience) to some accessible trends in contemporary music. The orchestra students were *very* excited and engaged with this piece, and the audience absolutely loved it.Compositional goals included:Accessible introduction to contemporary music.Fun and engaging parts for each section of the orchestraHighlight both cellist and orchestra with parts that sound difficult but are relatively simple.Clear-cut form and motivic material as a starting point for discussion of composition.Circles is 11:00 long, in 4 movements with no breaks.Mvt I. Circles begins high-energy and includes sweeping arpeggio figures and measured tremolo oscillations. The energy dissipates and a simple lyrical theme emerges, battling complications as they arise in the orchestra.Mvt II. Passacaglia is built over an exotic vamp and includes jete (to imitate castanets), col legno, snap pizz and instrument slaps. Mvt III. Lament begins with the soloist doing slow pizzicato arpeggiations while the orchestra bows weeping chords. Eventually, everyone is pizzicato, echoing and transforming the solo line. A cello cadenza recalls material from the Passacaglia. The soloist introduces triple-stop string crossings that lead into the fourth movement.Mvt IV. Coda is fast, with the triple stops in the solo part as a moto perpetuo, while the string sections come in one-by-one underneath. By the end, everyone is bowing and we circle back to the opening material of the 1st movement. The Soloist should be fluent through 3 octaves.Orchestra parts are easier and generally require fluency through 4th position. Written in 2011-12 and premiered by Eric with the Mountain View High School (Loveland, CO), Peter Toews conducting. Recording is of that premier. Eric can provide a MIDI if desired.Eric is happy to work with the orchestra and/or soloist via Skype (or a similar arrangement).
$20.00 ≈
18.42€
Symphony No. 3 in A minor, op. 17
Symphony No. 3 in A minor, op. 17
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Orchestra
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ADVANCED
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Contemporary
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #94126...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00 ≈
193.37€
Good Night - piano solo
Good Night - piano solo
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Piano solo
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INTERMEDIATE
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Classical
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Carrie Jacobs-Bond
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Phil Beaman
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Good Night - piano solo
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Phil Beaman
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1171512 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Romantic Period. Score. 2 pages. Phil Be...
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Piano Solo - Level 3 - Digital Download SKU: A0.1171512 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Romantic Period. Score. 2 pages. Phil Beaman #771833. Published by Phil Beaman (A0.1171512). Good Night is a piano solo arrangement of the 1905 hit pop song by Carrie Jacobs-Bond, which was originally a ballad for voice and piano. Â I took the first 8 bars of melody and set it to an oscillating broken chord triplet pattern setting up a 2 against 3 rhythm. Â I then repeated this 8 bar melody with a reharmonized triplet pattern an octave lower. Â For the final 8 bars I slow down the tempo and rhythm and put it back into simple time. Â It ends with a mesmerizing coda of just the oscillating broken chord triplet pattern. Â 2 page score; 1:30 minutesThis piece is also found in my book, Carrie Jacobs-Bond, Popular Songs 1900-1925, a collection of 51 of her songs I have arranged for piano solo, which is also available on this site.
$2.25 ≈
2.07€
ENCHANTING DARKNESS (Sombra Encantadora)
ENCHANTING DARKNESS (Sombra Encantadora)
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Piano solo
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INTERMEDIATE/ADVANCED
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ROBERT VAN HORNE
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ROBERT VAN HORNE
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ENCHANTING DARKNESS
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White Piano International Publishing
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1432657 Composed by ROBERT VAN HORNE. Arranged by ROBERT VAN HORNE. Film/TV,Instructional,Latin,Mariachi,...
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Piano Solo - Level 4 - Digital Download SKU: A0.1432657 Composed by ROBERT VAN HORNE. Arranged by ROBERT VAN HORNE. Film/TV,Instructional,Latin,Mariachi,Multicultural,World. Score. 8 pages. White Piano International Publishing #1012487. Published by White Piano International Publishing (A0.1432657). ENCHANTING DARKNESS (Sombra Encantadora)Original Piano Solo Music from “FOREVER AMOR”Composed and arranged by Robert Van Horne in 1992Advanced Intermediate Piano Solo Arrangement(This sheet music does not contain the violin and bass scores as heard on the mp3 sample)8 pagesDuration approximately 4 minutesIn 1985, I fell in love with Mexican, Spanish, and Latin music after visiting Mexico City. There I discovered composers like Agustin Lara, Jose Alfredo Jimenez, Antonio Carlos Jobim, and Astor Piazzolla. Despite not speaking Spanish fluently, I'm captivated by the language's musicality.This passion inspired me to compose Latin-style songs in the early 1990s, culminating in my album “FOREVER AMOR,” and later recording the music in 2016 for Piano, Violin and Bass. ENCHANTING DARKNESS is a captivating rhumba with a moderate tempo, featuring three distinct themes. The initial theme oscillates between half-step harmonies of F and G-flat, evoking an eerie atmosphere. Transitioning into the second theme of A minor, a sense of suspense permeates the music. Finally, the third theme reverts to the major key of F, exuding a serene and resolved ambiance. Throughout, ENCHANTING DARKNESS employs quarter-note triplets in its melody, set against a steady Latin beat. Like many tracks on the album, it hints at the possibility of narrating a love tale through the evocative use of imaginary Spanish words.The piano sheet music for ENCHANTING DARKNESS is clearly notated, featuring detailed instructions on dynamics, articulation, phrasing, pedal usage, chord symbols, suggested fingerings, and relevant musical terminology.While the mp3 sample includes violin and bass, the sheet music is for solo piano, suitable for intermediate to advanced players and instructors. You can find the full version on my album at: https://www.amazon.com/Forever-Amor-Robert-Van-Horne/dp/B01DAE052KPublished by White Piano International PublishingRobert Van Horne is a member of ASCAPWebsite: www.robertvanhorne.comEmail: rvh@robertvanhorne.com.
$2.99 ≈
2.75€
A Night In Tunisia
A Night In Tunisia
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Jazz
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Dizzy Gillespie
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Keith Terrett
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A Night In Tunisia
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Keith Terrett
#
SheetMusicPlus
Guitar,Piano - Level 3 - Digital Download SKU: A0.747044 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Sco...
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Guitar,Piano - Level 3 - Digital Download SKU: A0.747044 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Score and part. 12 pages. Keith Terrett #5953127. Published by Keith Terrett (A0.747044). A great sounding arrangement of A Night in Tunisia arranged for Guitar (notaion) & Piano, Guitarists will love this! Tab is available on request: keithterrett@gmail.comA jazz solo is written out for you, if you wish you can improvise on the given chord symbols!A Night in Tunisia is a musical composition written by Dizzy Gillespie around 1941–42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard.It is also known as Interlude. Gillespie called the tune Interlude and said some genius decided to call it 'Night in Tunisia'. He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. A Night in Tunisia was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame.On the album A Night at Birdland Vol. 1, Art Blakey introduced his 1954 cover version with this statement: At this time we'd like to play a tune [that] was written by the famous Dizzy Gillespie. I feel rather close to this tune because I was right there when he composed it in Texas on the bottom of a garbage can. The audience laughs, but Blakey responds, Seriously. The liner notes say, The Texas department of sanitation can take a low bow.The complex ostinato bass line in the A section is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard Alone Together, causing the V chord to lead back into the Sub V of the A section.Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections - in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
$8.99 ≈
8.28€
A Night In Tunisia
A Night In Tunisia
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Jazz
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Dizzy Gillespie
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Keith Terrett
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A Night In Tunisia
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Keith Terrett
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Marimba,Piano,Vibraphone - Level 3 - Digital Download SKU: A0.747043 By Dizzy Gillespie. By Dizzy Gillespie and...
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Instrumental Duet,Piano Instrumental Duet,Marimba,Piano,Vibraphone - Level 3 - Digital Download SKU: A0.747043 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. 12 pages. Keith Terrett #5953111. Published by Keith Terrett (A0.747043). A great sounding arrangement of A Night in Tunisia arranged for Vibraphone/Marimba & Piano, Vibe players will love this!A jazz solo is written out for you, if you wish you can improvise on the given chord symbols!A Night in Tunisia is a musical composition written by Dizzy Gillespie around 1941–42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard.It is also known as Interlude. Gillespie called the tune Interlude and said some genius decided to call it 'Night in Tunisia'. He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. A Night in Tunisia was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame.On the album A Night at Birdland Vol. 1, Art Blakey introduced his 1954 cover version with this statement: At this time we'd like to play a tune [that] was written by the famous Dizzy Gillespie. I feel rather close to this tune because I was right there when he composed it in Texas on the bottom of a garbage can. The audience laughs, but Blakey responds, Seriously. The liner notes say, The Texas department of sanitation can take a low bow.The complex ostinato bass line in the A section is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard Alone Together, causing the V chord to lead back into the Sub V of the A section.Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections - in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
$8.99 ≈
8.28€
Ave Verum
Ave Verum
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Choral SATB
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INTERMEDIATE
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Dominic McGonigal
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Ave Verum
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C8 Music
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1305433 Composed by Dominic McGonigal. 21st Century,Classical,Contemporary. 7 pages. C8 M...
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Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1305433 Composed by Dominic McGonigal. 21st Century,Classical,Contemporary. 7 pages. C8 Music #894865. Published by C8 Music (A0.1305433). Ave Verum takes 16thC polyphony into a 21stC sound world. The rich choral resonances are created layering the simple motifs of Byrd's famous setting of the Ave Verum some 500 years earlier. In the final section, the oscillating figures for O dulcis and O pie create a soft bed for the soaring melodies of O Jesu Christe and miserere mei.
$1.99 ≈
1.83€
Trio for Clarinet, Violin, and Piano
Trio for Clarinet, Violin, and Piano
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Francis Kayali
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Trio for Clarinet, Violin, and
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Francis Kayali
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SheetMusicPlus
Instrumental Duet,Piano Clarinet,Instrumental Duet,Piano,Violin - Level 5 - Digital Download SKU: A0.973024 Composed by Francis Kayali. 20th Century,Conc...
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Instrumental Duet,Piano Clarinet,Instrumental Duet,Piano,Violin - Level 5 - Digital Download SKU: A0.973024 Composed by Francis Kayali. 20th Century,Concert,Contemporary. Score and parts. 60 pages. Francis Kayali #5048159. Published by Francis Kayali (A0.973024). The trio opens with a nightmarish response to Debussy’s piano prelude ...des pas dans la neige. (Footsteps in the snow.) Although it borrows its short melodic and rhythmic motif from Debussy’s still and calm work, its mood is diametrically opposed – in truth, an appropriate title for this movement might well be blood in the snow! After the texture unwinds, shatters, and disintegrates, the three instruments feel their way in the dark and gradually attempt to piece things back together. Nevertheless, the piano concludes with a muffled, resigned version of its introductory gesture, suggesting that nothing has been resolved. The second movement oscillates between contemplative and playful moods. This ambivalence is present from the start, when the searching violin solo of the opening is punctuated by playful bird-like comments from the piano. The clarinet ushers in a faster middle section during which the three instruments have a dialogue and both the bird idea and the violin’s rising
$12.00 ≈
11.05€
A Night In Tunisia
A Night In Tunisia
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French Horn and Piano
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INTERMEDIATE/ADVANCED
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Jazz
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Dizzy Gillespie
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Keith Terrett
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A Night In Tunisia
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Keith Terrett
#
SheetMusicPlus
French Horn,Piano - Level 4 - Digital Download SKU: A0.747029 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz...
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French Horn,Piano - Level 4 - Digital Download SKU: A0.747029 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Score and part. 12 pages. Keith Terrett #5899751. Published by Keith Terrett (A0.747029). A great sounding arrangement of A Night in Tunisia arranged for Oboe & Piano, Horn players will love this!A jazz solo is written out for you, if you wish you can improvise on the given chord symbols!A Night in Tunisia is a musical composition written by Dizzy Gillespie around 1941–42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard.It is also known as Interlude. Gillespie called the tune Interlude and said some genius decided to call it 'Night in Tunisia'. He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. A Night in Tunisia was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame.On the album A Night at Birdland Vol. 1, Art Blakey introduced his 1954 cover version with this statement: At this time we'd like to play a tune [that] was written by the famous Dizzy Gillespie. I feel rather close to this tune because I was right there when he composed it in Texas on the bottom of a garbage can. The audience laughs, but Blakey responds, Seriously. The liner notes say, The Texas department of sanitation can take a low bow.The complex ostinato bass line in the A section is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard Alone Together, causing the V chord to lead back into the Sub V of the A section.Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections - in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
$8.99 ≈
8.28€
Calibrating the Moon - Tuba and Piano
Calibrating the Moon - Tuba and Piano
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Tuba and Piano
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ADVANCED
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Contemporary
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Kyle Vanderburg
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Calibrating the Moon - Tuba an
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NoteForge
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SheetMusicPlus
Piano,Tuba - Level 5 - Digital Download SKU: A0.1002836 Composed by Kyle Vanderburg. Contemporary. Score and part. 33 pages. NoteForge #6113517. Publishe...
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Piano,Tuba - Level 5 - Digital Download SKU: A0.1002836 Composed by Kyle Vanderburg. Contemporary. Score and part. 33 pages. NoteForge #6113517. Published by NoteForge (A0.1002836). I spent New Year's Eve 2018 in Nye, Montana, visiting family and friends. One of those friends is an imaging specialist who regaled us with an explanation of his most recent project, which he described as calibrating the moon. Specifically, he was talking about the NASA ARCSTONE mission to calibrate the moon's reflectance to use as an accurate reference, primarily in climate science. The idea is that we have all this data about global warming and atmospheric changes, and a lot of that data uses the brightness of the moon as a control variable, but we don't actually have a precise definition of how bright the moon is. Ever since I was a part of that conversation, I knew that I wanted calibrating the moon as a title, and everything that came after that plays with the idea of moon themes or of doing big impossible-sounding things. When Connor Challey approached me about writing for tuba, Calibrating the Moon was an obvious choice.The work opens with Syzygy, a term describing the straight line between the sun, moon, and Earth that occurs every new and full moon. The movement starts dark and brooding, moves to an energetic middle section, and returns to being mysterious, kind of like a lunar cycle. Fun fact: This movement's theme is actually a tuba setting of the phrase Calibrating the moon.The Second movement, Spectral Reflectance, is slow and shiny. NDSU was fortunate to have portfolio tubist (and Connor's mentor) Sam Pilafian as a visiting guest artist for several years, and I finished Syzygy around the time of his passing. I spent a lot of time thinking about Sam while putting the second movement together, and I quoted a couple of his favorite tuba concerti.The work ends with Libration. If you were to watch a time-lapse video of a lunar cycle, you'd notice that the moon not only transitions from new to full to new, but also sort of oscillates or wags. That's Libration. The movement is likewise off-kilter, playing with the listener's sense of time through alternating time signatures.https://kylevanderburg.com/music/calibrating-the-moon/
$14.99 ≈
13.80€
Fastnet Rock
Fastnet Rock
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Flute and Piano
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ADVANCED
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Contemporary
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Jamie Farrow
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Fastnet Rock
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Jamie Farrow
#
SheetMusicPlus
Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168...
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Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168. Published by Jamie Farrow (A0.1042377). This is a piece for flute and piano duo. Fastnet Rock, home to the Fastnet Lighthouse, is Ireland’s most southerly point situated in the Atlantic Ocean, famous for massive waves that engulf the island during storms. Three photographs (see below) and the lighthouse’s history were my inspiration for this duet, with the different images and ideas that they created, influencing my composition’s structure, themes and ideas at play. The piece starts at sunset and finishes at sunrise, with four sections each representing a different moment that follow a gradually developing structure through the first three sections before a gentle reprise of the ideas from Section 1 (S1) in Section 4 (S4). This gives a cyclicity to the piece, furthered by the tonal regions explored in each of the sections; Ebmaj to Amin to Bmin to Amin to Ebmaj. S1 invokes thoughts of the colours of sunset It is divided into four sub-sections, characterised by either solo flute or flute with piano, with each section exploring a different range of colours generated by their keys. Throughout, accidentals provide additional colour reminiscent of light diffracted during a sunset with the piano in the duo section voiced low in its range adding warmth explored through pivot chords. The flute plays in a very free recitative style, allowing the flautist individual expression emphasising the organicity of sunset as each performer will express this section differently. Section 2 (S2) and Section 3 (S3) are closely related, focusing on night-time through to sunrise in S4, with S2 providing the build up to the events of S3. In S2 the piano plays at the extremes of its range with widely spaced chords and no sense of beat, creating stillness and a sense of uneasiness through the constantly and irregularly beating A. The flute represents the rising storm and wind playing an organically-evolving motif beginning low in range, before gradually adding more notes and slowly rising, eventually reaching a dramatic climax which explores the extremities of its range whilst accelerating into S3. The drama and large gestures of S3 represent an Atlantic storm, a wall of oscillating sound through repeated piano ostinatos and constant use of the sustain pedal. Coupled with the frequently changing time-signature creating a sense of wild waves rolling in the ocean, the chordal bars percussively suggesting waves hitting the island. The flute captures the drama and emotion of the storm and the whistling wind, with long rising and falling gestures exploring the instrument’s very extremities. S4 brings the morning after the storm. We hear the same flute idea as in S1, this time played in the sadder Amin, communicating a sense of loss and despair following the storm. The piano emulates the now gently lapping waves against the rocks of Fastnet with the triplet motif in the bass. The right-hand of the piano plays a chordal accompaniment as in S1 but much slower, representing the slowly emerging colours of a sunrise which become richer and richer like the chords before the sunrise in the final few bars with a move into Ebmaj.
$2.99 ≈
2.75€
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Oscillation
