All site ▾
All site▾
Free sheet music
Sheet music books
Digital sheet music
Musical equipment
My account
(log-in)
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
Français
Free Sheet Music ▾
▽ INSTRUMENTS
ACCORDION
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET M…
BOOKS
BOUZOUKI
CELLO - VIOLO…
CHARANGO
CHOIR - VOCAL
CLARINET
CORNET
DOBRO - GUIT.…
DOUBLE BASS
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEORB
MANDOLIN
MARCHING BAND
MARIMBA
OBOE
ORCHESTRA - B…
ORGAN - ORGAO
OTHER INSTRUM…
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLA DA GAMB…
VIOLIN - FIDD…
XYLOPHONE
ZITHER
NEW ADDITIONS
|
GENRES
|
20th century
Afro-americans
Ballad
Baroque
Bluegrass
Blues
Brazilian/Choro
Celtic
Celebrations
Classical
Classical modern
Contemporary
National Anthems
Jazz
New age
Opera
Ragtime
Renaissance
Romantic
Sonata
Tango
Traditional
Waltz
Occitan song
Song
Chinese traditional
Ethnic
Klezmer
Flamenco
Folk
Japanese traditional
March
Medieval
Musette
Orientale
Pasodoble
French popular
Popular Dance
Reggae
Swing
Latin/World
INSTRUCTIONAL
:
Blank sheet music
Children
Dictionaries
Instructional methods
Music theory
Musicology
Rhythmic Solfege
Solfeges
Studies
SACRED
:
African Hymns
Chassidic
Christian
Christmas
Gospel
Gregorian
Israeli
Sacred Hymns
Wedding
DIFFICULTY
|
Beginner
Easy
Intermediate
Intermediate/advanced
Advanced
TOP DOWNLOADS
|
TOP DOWNLOADS
TOP 100 SOCIAL RANKING
COMPOSERS
|
Member composers
Historical composers
All composers
INSTRUMENTATIONS
|
SOLO
DUET
TRIO
QUARTET
QUINTET
ENSEMBLE
ALL
ADVANCED SEARCH
|
Digital Sheet Music
HOME
|
NEW ADDITIONS
|
PIANO
|
Piano sheet music
Piano solo
Piano, Voice, Guitar
Piano duet
Easy Piano
Piano Method
Methods
Studies
Organ sheet music
Organ solo
Organ duet
INSTRUMENTAL
|
Strings
Violin
Viola
Cello
Doublebass
Harp
Woodwinds
Flute
Clarinet
Oboe
Saxophone
Bassoon
Brass
Trumpet
Horn
Trombone
Tuba
Guitar
Guitar Tabs
Piano, Voice, Guitar
Bass
Folk
Accordion
Banjo
Dulcimer
Ukulele
Mandolin
Chamber music
String quartet
Wind quintet
Brass quintet
Handbells
ORCHESTRA
|
Concert Band
Jazz Ensemble
Jazz combo
Brass band
Marching band
Methods
Orchestra
String orchestra
CHOIR / VOICE
|
Choir
SATB
TTBB
SSAA
3-parts
2-parts
Voice
Piano, Voice, Guitar
Piano, Voice
Voice solo
Voice duet
GENRES
|
20th century
Asian
Bluegrass
Blues
Broadway / Musicals
Celtic
Christmas
Classical
Children
Country
Fingerpicking
Flamenco
Folk Rock
French songs
Funk
Gospel
Halloween
Instructional
Instructional - Studies
Jazz
Klezmer
Latin / World
Latin Pop
Medieval / Renaissance
Metal / Hard
Movie / TV
Movie Walt Disney
New Age
Patriotic
Pop
Reggae
Rock
Rock Alt.
Sacred / Church
Soul / Rap
Tango
Traditional
Video Game
Wedding / Love
CHRISTMAS
|
All Christmas
Christmas Piano
Christmas Guitar
Christmas Voice/Choir
Halloween
DIFFICULTY
|
Beginner
Easy
Intermediate
Intermediate/advanced
Advanced
Music Sheet Library ▾
HOME
|
NEW ADDITIONS
|
PIANO
|
Piano (all)
Beginner Piano
Easy Piano
Piano Solo
PVG
Best Sellers
New additions
GUITAR
|
Guitar (all)
Beginner Guitar
Easy Guitar
Guitar TAB
Guitar (without TAB)
Best Sellers
New additions
VOICE/CHORAL
|
Choral & Voice (all)
Solo voice
Choral 2-Part
Choral 3-Part
Choral SATB
Choral TTBB
Choral SSAA
Choral UNISON
Best Sellers
New additions
INSTRUMENTATIONS
|
BEST SELLERS
|
CHRISTMAS
|
GENRES
|
20th century
African
Asian
Bluegrass
Blues
Broadway / Musical
Celtic
Christmas
Classical
Country
Children
Eastern Europe
Exams
Fingerpicking
Flamenco
Folk Rock
French songs
Funk
Gypsy jazz
Gospel
Halloween
Instructional
Instructional - Studies
Instructional - Chords/Scales
Jazz
Klezmer
Latin / World
Latin Pop
Medieval / Renaissance
Metal
Movie / TV
Movie Walt Disney
New Age
Patriotic
Pop
Reggae
Rock
Rock Alternative
Sacred / Church
Soul / Rap
Tango
Traditional
Video Games
Wedding / Love
SECTIONS
|
ARTISTS
PUBLISHERS
CLASSROOM
GIFT IDEAS
BOOKS ABOUT MUSIC
PLAY-ALONG
ADV.SEARCH
Musical Equipment ▾
GUITAR
|
KEYBOARD
|
PERCU.
|
STUDIO
|
SOFT
|
PA
|
LIGHT
|
DJ
|
MIC
|
EFFECTS
|
WINDS
|
TRAD.
|
FLIGHT
|
CABLES
|
ACC.
|
GIFT
|
BRANDS
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
Rather Be Xylophone
Not classified
5
Piano & keyboards
Guitars
Voice
Woodwind
Woodbrass
Strings
Percussion & orchestra
Percussion Ensemble
2
Piano and Orchestra
1
Concert band
1
Xylophone (band part)
1
Others
Home
Best Sellers
New releases
Methods
Studies
Sellers
Sellers
Americans
At Musicnotes
At Sheetmusicplus
At Virtualsheetmusic
Europeans
At Tomplay
At Prof-Editions
At Note4piano
At Noviscore
At Quickpartitions
International artists list
French artists list
Top artists
Top artists
POP
Adele
Daft Punk
Avicii
Pharrel Williams
Bruno Mars
Lily Allen
Birdy
John Legend
Passenger
Emeli Sand�
Beatles
NEW AGE / CLASSICAL
Yiruma
Ludovico Einaudi
John Williams
Piazzolla
John Rutter
Dmitri Shostakovich
Benjamin Britten
Ennio Morricone
Paul Mealor
John Rutter
Eric Whitacre
John Tavener
Christmas
Halloween
Easter
Wedding
Sacred
FREE SHEET MUSIC
185,000+ free sheet music
SHEET MUSIC LIBRARY
1,500,000+ buy and delivery
DIGITAL SHEET MUSIC
2,000,000+ buy and print
MUSICAL INSTRUMENTS
200,000+ buy and delivery
Sheet Music Membership ($37.75/year)
Digital sheet music, access after purchasing
Post mailing
Digital sheet music
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
You've selected:
Rather Be Xylophone
Sheetmusic to print
10 sheet music found
<
1
Rather Be - Xylophone
Rather Be - Xylophone
#
Xylophone (band part)
#
Clean Bandit feat
#
Tom Wallace
#
Pop
#
Rather Be - Xylophone
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By Clean Bandit feat. Jess Glynne. Arranged by Tom Wallace. A Cappella; Pop. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music ...
(+)
By Clean Bandit feat. Jess Glynne. Arranged by Tom Wallace. A Cappella; Pop. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music
$5.99 ≈
5.57€
Rather Be
Rather Be
Flute,Tenor Sax,Soprano Sax,Violin,Viola,Cello,Xylophone,Drum Set,Bells
#
Clean Bandit
#
Elizabeth Skola Davis
#
Rather Be
#
Elizabeth Skola Davis
#
SheetMusicPlus
By Clean Bandit. Arranged by Elizabeth Skola Davis. Score, Set of Parts. 15 pages. Published by Elizabeth Skola Davis (H0.149673-258681). - Score,Set of Parts -...
(+)
By Clean Bandit. Arranged by Elizabeth Skola Davis. Score, Set of Parts. 15 pages. Published by Elizabeth Skola Davis (H0.149673-258681). - Score,Set of Parts - - Elizabeth Skola Davis
$12.99 ≈
12.07€
Pitch Only - Treble Clef (Sight Reading Exercise Book)
Pitch Only - Treble Clef (Sight Reading Exercise Book)
#
Instructional
#
Nathan Petitpas - Dots and Bea
#
Pitch Only - Treble Clef
#
Dots and Beams
#
SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,O...
(+)
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - Digital Download SKU: A0.931837 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313613. Published by Dots and Beams (A0.931837). This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years.
$10.00 ≈
9.30€
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
#
Instructional
#
Nathan Petitpas - Dots and Bea
#
I encourage you to use both
#
Pitch and Rhythm - Treble Clef
#
Dots and Beams
#
SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
(+)
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - Digital Download SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00 ≈
9.30€
Christmas Calypso for Percussion Sextet
Christmas Calypso for Percussion Sextet
#
Percussion Ensemble
#
EASY
#
Christmas
#
Dan Heslink
#
Christmas Calypso for Percussi
#
Pharaoh Publications
#
SheetMusicPlus
Percussion Ensemble - Level 2 - Digital Download SKU: A0.935389 Arranged by Dan Heslink. Christian,Christmas. Score and parts. 18 pages. Pharaoh Publicat...
(+)
Percussion Ensemble - Level 2 - Digital Download SKU: A0.935389 Arranged by Dan Heslink. Christian,Christmas. Score and parts. 18 pages. Pharaoh Publications #6117159. Published by Pharaoh Publications (A0.935389). Christmas Calypso for Percussion Sextet . . . . . . . . . . . . . . arr. Dan Heslink The calypso style referenced in the title is not the calypso of Afro-Caribbean music from Trinidad and Tobago. Rather, it is the especially toned-down but still rhythmic commercial variant popularized by folk singers. Couched in this style, the arrangement offers Christmas favorites Deck the Halls, Angels We Have Heard On High, God Rest Ye Merry Gentlemen and Good Christian Men, Rejoice. This if one of two versions of the calypso arrangement by Dan Heslink, both of which are available through Sheet Music Plus. The other arrangement, percussion sextet, follows similar musical contours and is available separately. Both versions are intended to elicit one primary response from both performers and audience – fun. It does not tax the players technically, but delivers a satisfying sound with carols that the performers likely know and love. General audiences will be enchanted by the familiar melodies delivered in percussion, especially at Christmas time. The introduction opens with a brisk and rhythmic introduction based on Deck the Halls, and establishes the fun calypso rhythm immediately. Deck the Halls is the much-loved welsh air that was arranged by Haydn, Nos galan (Hob. XXXIb:29, 1803). Then, Angels We Have Heard on High breaks out in double-stops with a continuation of the rhythmic impetus. The birth of Jesus Christ as narrated in the Gospel of Luke is the subject of Angels We Have Heard on High, a traditional French song of unknown origin. The gloria section provides some flowing contrast, portraying the shepherds’ impressions as they encounter a multitude of angels singing and praising. The performers are encouraged to use a relaxed stroke to glide through these passages. Following is God Rest Ye Merry Gentlemen, a 16th century English traditional Christmas carol also known under the title, The old Christmas Carol. It provides a contrast in tonality (minor mode) and texture. The xylophone part likely will lay most comfortably when executed with four mallets, although there are no three or four mallet chords in these passages. Good Christian Men, Rejoice is the closing selection in this Christmas medley. It’s title is an English translation of In dulci jubilo (Latin for In sweet rejoicing). The work ends happily with a summation of the calypso rhythm. This medley will be especially effective programmed on a winter holiday concert. Duration is 2:30. The arranger, Dan Heslink, assigned a difficulty level of medium easy, and can be contacted at dan@dheslink.com.
$4.99 ≈
4.64€
Christmas Calypso for Marimba Quartet
Christmas Calypso for Marimba Quartet
#
Percussion Ensemble
#
Christmas
#
Dan Heslink
#
Christmas Calypso for Marimba
#
Pharaoh Publications
#
SheetMusicPlus
Percussion Ensemble - Digital Download SKU: A0.935390 Arranged by Dan Heslink. Christian,Christmas. Score and parts. 16 pages. Pharaoh Publications #6117...
(+)
Percussion Ensemble - Digital Download SKU: A0.935390 Arranged by Dan Heslink. Christian,Christmas. Score and parts. 16 pages. Pharaoh Publications #6117165. Published by Pharaoh Publications (A0.935390). Christmas Calypso for Marimba Quartet . . . . . . . . . . . . . . arr. Dan HeslinkThe calypso style referenced in the title is not the calypso of Afro-Caribbean music from Trinidad and Tobago. Rather, it is the especially toned-down but still rhythmic commercial variant popularized by folk singers. Couched in this style, the arrangement offers Christmas favorites Deck the Halls, Angels We Have Heard On High, God Rest Ye Merry Gentlemen and Good Christian Men, Rejoice. This if one of two versions of the calypso arrangement by Dan Heslink, both of which are available through Sheet Music Plus. The other arrangement, for percussion sextet, follows similar musical contours and is available separately. Both versions are intended to elicit one primary response from both performers and audience – fun. It does not tax the players technically, but delivers a satisfying sound with carols that the performers likely know and love. General audiences will be enchanted by the familiar melodies delivered in percussion, especially at Christmas time. The introduction opens with a brisk and rhythmic introduction based on Deck the Halls, and establishes the fun calypso rhythm immediately. Deck the Halls is the much-loved welsh air that was arranged by Haydn, Nos galan (Hob. XXXIb:29, 1803). Then, Angels We Have Heard on High breaks out in double-stops with a continuation of the rhythmic impetus. The birth of Jesus Christ as narrated in the Gospel of Luke is the subject of Angels We Have Heard on High, a traditional French song of unknown origin. The gloria section provides some flowing contrast, portraying the shepherds’ impressions as they encounter a multitude of angels singing and praising. The performers are encouraged to use a relaxed stroke to glide through these passages. Following is God Rest Ye Merry Gentlemen, a 16th century English traditional Christmas carol also known under the title, The old Christmas Carol. It provides a contrast in tonality (minor mode) and texture. The xylophone part likely will lay most comfortably when executed with four mallets, although there are no three or four mallet chords in these passages. Good Christian Men, Rejoice is the closing selection in this Christmas medley. It’s title is an English translation of In dulci jubilo (Latin for In sweet rejoicing). The work ends happily with a summation of the calypso rhythm. This medley will be especially effective programmed on a winter holiday concert. Duration is 2:30. The arranger, Dan Heslink, assigned a difficulty level of medium easy, and can be contacted at dan@dheslink.com.
$4.99 ≈
4.64€
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
#
Instructional
#
Nathan Petitpas - Dots and Bea
#
Rhythm Only - Book 1 - Eighths
#
Dots and Beams
#
SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
(+)
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00 ≈
9.30€
Never Enough
Never Enough
#
Concert band
#
INTERMEDIATE/ADVANCED
#
Boyce Avenue
#
Jason Howard
#
Never Enough
#
Jason Howard
#
SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1265062 By Boyce Avenue. By Benj Pasek and Justin Paul. Arranged by Jason Howard. Broadway,Film/TV,Musi...
(+)
Concert Band - Level 4 - Digital Download SKU: A0.1265062 By Boyce Avenue. By Benj Pasek and Justin Paul. Arranged by Jason Howard. Broadway,Film/TV,Musical/Show,Pop. Score and Parts. 40 pages. Jason Howard #857689. Published by Jason Howard (A0.1265062). Thank you for you're interest in my arrangement one of The Greatest Showman's greatest hits! This arrangement of Never Enough is for concert band with an optional vocal soloist.The work starts out with the simple piano arpeggios that really hooked my ear on the original, before leading into an intimate blend of woodwind timbres and flowing percussive melodies for the first verse. Low Brass lead the work into the first chorus, where a Horn solo carries the emotion to the first full ensemble hit that pushes through until the end of the work where sudden silence and soft, warm extended chord punctuates the piece.This piece was written with advanced high school and higher level musicians in mind. Though the pieces isn't incredibly difficult overall, the range asked of some of the performers and the raw emotion that this work represents demands a level of training. The score will likely be better printed on Legal sized paper to help with readability, but the parts are all easily printable on standard 8.5x11 copy paper.Instrumentation:Flute 1 & 2*Oboe*Bb Clarinet 1 & 2Bb Clarinet 3*Bass ClarinetAlto Saxophone 1Alto Saxophone 2Tenor SaxophoneBaritone SaxophoneBb Trumpet 1 & 2Bb Trumpet 3Horn in F 1 & 3*Horn in F 2 & 4*Trombone 1Trombone 2Eupnonium*TubaOptional Solo VoicePianoGlockenspielChimesXylophoneMarimbaConcert Bass DrumSuspended Cymbal*Part includes a solo sectionI hope that you and your group enjoys my arrangement! If you do (or even if you don't), please leave a comment and let me know! As a current full time band director who would love to be able to do this full time one day, any and all critiques are appreciated, and I'm particularly interested in formatting suggestions! If you would rather email me than leave a comment, shoot me an email at jhowardarranging@gmail.com!A little about me:My name is Jason Howard, and at the time of this publication, I'm going into my 5th year as a band director at the middle and high school levels. I have quite a bit of experience with arranging of various types of vocal and instrumental ensembles and combos. Most are for personal use, but as I get time, I hope to publish more and more for public consumption! Primarily, I focus on popular music, and I one day hope to bring important and influential classical musics to audiences and younger students everywhere!
$49.99 ≈
46.47€
Akrilates No.2
Akrilates No.2
#
Jailton de Oliveira
#
Section II: bars 43-99
#
Akrilates No.2
#
Jailton de Oliveira
#
SheetMusicPlus
Bass Drum,Bongos,Cymbals,Glockenspiel,Piano,Snare Drum,Tam Tam,Tom Tom,Triangle,Vibraphone,Woodblock,Xylophone - Digital Download SKU: A0.1438474 Compose...
(+)
Bass Drum,Bongos,Cymbals,Glockenspiel,Piano,Snare Drum,Tam Tam,Tom Tom,Triangle,Vibraphone,Woodblock,Xylophone - Digital Download SKU: A0.1438474 Composed by Jailton de Oliveira. 21st Century,Chamber,Classical,Contemporary. 27 pages. Jailton de Oliveira #1018493. Published by Jailton de Oliveira (A0.1438474). Akrilates II, for piano and percussion. The title “Akrilates” does not refer to a specific thematic material in the work. Rather, it is only a neutral word, allowing the music to be free of any pre-established idea. The work has a single movement divided into two sections: Section I: bars 1-42; Section II: bars 43-99. Section II is a retrograde variation of Section I. The work has a slow tempo and uses the overtone scale, an octatonic scale, starting on note G ( G-A-B-C#-D-Eb-F-F#-G) . The piano is the lead instrument of thematic events and it dialogues with various timbres of percussion instruments. In most of the work sequences of measures are explored, progressing alternately every two bars. Also are explored harmonic intervals of 5th., 4th., 3rd. and 2nd. In some stretches occur numeric relationships between measure and intervals used, e.g., measure 5/4 = interval of 5th; 4/4 = 4th, etc. From measure 85 to the end occurs a coda, where the work concludes summarizing the main materials used earlier.
$12.95 ≈
12.04€
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...
(+)
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 ≈
22.30€
<
1
Rather Be Xylophone
