Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - Digital Download SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!

Solo Guitar - Level 4 - Digital Download SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality.   As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.

Piano Solo - Level 3 - Digital Download SKU: A0.972635 Composed by James Siddons. 20th Century,Contemporary,Ragtime,Standards. Score. 10 pages. James Siddons Music and Writings #3022927. Published by James Siddons Music and Writings (A0.972635). These seven short pieces were composed in the early months of 1976 as imitations of some of the composers and musical styles of the early twentieth century. They were never performed or published at the time. They are useful as didactic studies for student pianists. The seven pieces areI. Intonatione In the Whole-Tone ScaleII. Prélude and Nocturne in ModesIII. An Impression of ImpressionismIV. An Imitation of Roy HarrisV. Adding Chord-Tones While Shifting MetersVI. Ragtime BitonalityVII. Diatonic Waltz Program Notes: The Intonatione In the Whole-Tone Scale recalls the Renaissance Italian musical form that evolved into the prèlude in later organ music, as well as the use of Italian forms in the atonal music of Arnold Schoenberg, and some neo-Baroque composers of the twentieth century. In contrast, the whole-tone scale is reminiscent of generally tonal composers, including Debussy. The Martial Prèlude and Nocturne in Modes recalls the many pre-twentieth century pairings of preludes with fugues and other forms. The pairing with a nocturne evokes an air of Romanticism. The Martial Prèlude is a march-like fanfare, in Lydian mode on C. The Chopinesque Nocturne is in Phrygian mode, on E flat. An Impression of Impressionism evokes some of Debussy’s Preludes pour Piano, including a suggestive title at the bottom of the page, as Debussy himself did. For the young pianist aiming to master the works of Debussy, the arpeggio patterns, block chords, and sequential motives will prove helpful as introductory exercises. An Imitation of Roy Harris was inspired by the occasion in 1976 when James Siddons heard Roy Harris speaking in person about his compositions. Siddons was impressed by Harris’ youth in Oklahoma, and how the solidity of American rural life shaped Harris’ symphonic music. When taking questions at the end of the lecture, a young composer asked Harris about his creative methods when composing music. Well, Harris responded, You don’t pull up a potato just to see if its growing. Adding Chord-Tones While Shifting Meters is a technical exercise that is nonetheless fun to listen to, and fun to play. A student pianist should be asked to analyze the harmony in this piece, and to describe what shifts are taking place when the musical meter (as well as phrasing and rhythm patterns) change. The echoes of Stravinsky and Bartók should be apparent to the listener and pianist. Ragtime was not regarded as art music of the same caliber as Stravinsky and Schoenberg, or even Copland and Gershwin, until the 1970s. The inclusion of ragtime in these seven pieces would not have been accepted by composers of the early twentieth century, Stravinsky excepted. Ragtime Bitonality explores how such piano music might have sounded had major composers of the 1900-1920 era taken an interest in its march-like vitality. There is even a touch of atonality! In contrast to the powerful rhythms and juxtaposed tonal relations in much early twentieth-century music, there were works by many composers that continued familiar melodic patterns and balanced forms, offering musical relief in a turbulent era in music history. The Diatonic Waltz is offered here as a quiet, peaceful conclusion to our tour of musical styles in classical music of a century ago. About the Composer: James Siddons is a composer and pianist as well as musicologist. His research guide to the music of Japanese composer Toru Takemitsu was published in 2001. For more information, see www.JamesSiddons.com

Solo Guitar - Digital Download SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar  4 pp   (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality.   As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.

Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality.   As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.

Piano Solo - Level 5 - Digital Download SKU: A0.942951 Composed by Geoffrey Peterson. Contemporary. Score. 8 pages. Geoffrey Peterson #3915779. Published by Geoffrey Peterson (A0.942951). Three Hopper Paintings was written in the early 1990s. The three movements are connected by a ten-note theme. Much of the music, both melodic and harmonic, is derived from this. In my early twenties at the time, and having recently spent some months in Vienna studying the atonal and twelve-tone works of Arnold Schoenberg, I was greatly influenced by the music and compositional techniques of the Second Viennese School. The first movement, Nighthawks, is brooding and mysterious attempting to capture those qualities depicted in the painting. The music takes its cue from the early atonal piano works of Schoenberg. Rooms by the Sea has an impressionistic quality. With some exceptions, the music is predominantly in the sound world of Debussy. Some artistic license is taken with the last two chords to portray a sudden sea breeze closing the door shut. House by the Railroad is musically the most literal representation of the three paintings. The sustain pedal is left down for almost the entire movement to simulate the rumbling of an oncoming train. Allegedly, the house in Alfred Hitchcock's Psycho was inspired by it. Ironically, I lived in a small carriage house a few hundred feet from an active railroad when I composed the work.

Mixed choir (SSAATTBB) a cappella or with kleinem orchestra - difficult - Digital Download Based on the Arnold Schonberg Complete Edition. Composed by Arnold Schoenberg (1874-1951). This edition: choral score. Schott Chamber Choir. Downloadable. Op. 13. Duration 8 minutes. Schott Music - Digital #Q5650. Published by Schott Music - Digital

Cello,Piano - Level 3 - Digital Download SKU: A0.528758 Composed by Luigi Denza. Arranged by Diego Marani. Classical,Concert,Instructional,Romantic Period,Standards. Score and part. 11 pages. Diego Marani #6433295. Published by Diego Marani (A0.528758). Funiculì, Funiculà is a Neapolitan song composed in 1880 by Luigi Denza to lyrics by Peppino Turco. It was written to commemorate the opening of the first funicular railway on Mount Vesuvius. The sheet music was published by Ricordi and sold over a million copies within a year. Since its publication, it has been widely adapted (Richard Strauss, Nikolai Rimsky-Korsakov, Arnold Schoenberg) and recorded (Luciano Pavarotti, Beniamino Gigli, Il Volo).This arrangement for Cello with Piano Accompaniment is suitable for any occasion: from concert to wedding or even for a brilliant encore.

Instrumental Solo - Level 4 - Digital Download SKU: A0.818321 By Stephen R Dalrymple. By Alexander Scriabin. Arranged by Edited by Stephen R Dalrymple. Romantic Period. Individual part. 5 pages. Stephen R Dalrymple #5997057. Published by Stephen R Dalrymple (A0.818321). Prélude for Left Hand Alone (Classical Music for Tablet Series) by Alexander Scriàbin (piano solo) Opus 9 Number 1 - (Classical Music for Tablet Series) ♫ Alexander Nikolayevich Scriabin [1871 – 1915] was a Russian composer and virtuoso pianist. Before 1903, Scriabin was greatly influenced by the music of Frédéric Chopin and composed in a relatively tonal, late Romantic idiom. Later, and independently of his influential contemporary, Arnold Schoenberg, Scriabin developed a much more dissonant musical language that had transcended usual tonality but was not atonal. He composed almost exclusively for solo piano and for orchestra. [condensed from Wikipedia October 2022] ♫ Prélude for Left Hand Alone belongs to the earlier period of his work. ♫ Edited for 10 inch tablet by Stephen R Dalrymple ♫ Performed by the Editor. ♫ I was introduced to this piece by my piano teacher, Jenny Wong, after injuring my right arm and needing to rest it. Compositions for left hand alone are valuable in developing and testing phrasing in the left hand. The most beautiful tone quality will be elusive if the left hand is weak in technique or phrasing. ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.

Soloists, Speakers and Orchestra - Digital Download Oper in einem Akt. Composed by Arnold Schoenberg (1874-1951). This edition: vocal/piano score. Downloadable. Schott Music - Digital #Q2421. Published by Schott Music - Digital

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.528744 Composed by Luigi Denza. Arranged by Diego Marani. Classical,Concert,Instructional,Romantic Period,Standards. 16 pages. Diego Marani #6415999. Published by Diego Marani (A0.528744). Funiculì, Funiculà is a Neapolitan song composed in 1880 by Luigi Denza to lyrics by Peppino Turco. It was written to commemorate the opening of the first funicular railway on Mount Vesuvius. The sheet music was published by Ricordi and sold over a million copies within a year. Since its publication, it has been widely adapted (Richard Strauss, Nikolai Rimsky-Korsakov, Arnold Schoenberg) and recorded (Luciano Pavarotti, Beniamino Gigli, Il Volo).This arrangement for sax quartet includes the following parts: Bb Soprano, Eb Alto, Bb Tenor, Eb Baritone.

Instrumental Duet,Piano Alto Saxophone,Baritone Saxophone,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.528750 Composed by Luigi Denza. Arranged by Diego Marani. Classical,Concert,Instructional,Romantic Period,Standards. Score and parts. 11 pages. Diego Marani #6431453. Published by Diego Marani (A0.528750). Funiculì, Funiculà is a Neapolitan song composed in 1880 by Luigi Denza to lyrics by Peppino Turco. It was written to commemorate the opening of the first funicular railway on Mount Vesuvius. The sheet music was published by Ricordi and sold over a million copies within a year. Since its publication, it has been widely adapted (Richard Strauss, Nikolai Rimsky-Korsakov, Arnold Schoenberg) and recorded (Luciano Pavarotti, Beniamino Gigli, Il Volo).This arrangement for Eb Alto Sax with Piano Accompaniment is suitable for any occasion: from concert to wedding or even for a brilliant encore.

On a Little Piano Piece by Arnold Schoenberg. Composed by Viktor Ullmann. This edition: study score. Ernst Eulenburg, Orchester, Partitur. Eulenburg Miniature Scores. Downloadable. Op. 3b. Duration 13 minutes. Schott Music - Digital #Q6404. Published by Schott Music - Digital

Piano Solo - Level 4 - Digital Download SKU: A0.912489 Composed by Thomas R. Schadl. Concert,Contemporary,Instructional,Standards. Score. 2 pages. Thomas R. Schadl #3569709. Published by Thomas R. Schadl (A0.912489). Andante on EGD For Piano is based on an EGD motive, and is organized in a six-note row, in a manner similar to the twelve-tone system Arnold Schoenberg (1874-1951) devised in the 1920s. With other note rows included in the piece, the work portrays an eerie atmosphere that one would associate with mystery plays and movies, such as The Twilight Zone. In performing the piece, care should be given to stressing the melodic lines.Structure of the six-note row:E     G D    D# G#  FC#   E B     C F   D F#   A E      F A# GF    G# D#    E A   F#C    D# A#    B E   C#D#  F# C#    D G  E E to E diagonal row                                         F to D# diagonal rowX0     E                                                      Y0 FX1     C# G                                                   Y1 G# DX2     F# E D                                                  Y2 D# F GX3     F A B  D#                                    Y3 D C A# F#X4     C G# E  C G#                                 Y4 G B F A C#X5     D# D# D#  F F F                            Y5 E E E E E EX6     F# A# E A# D                                       Y6 C# A D# B GX7    C# B A  G                                       Y7 F# G# A# DX8    D E F#                                                   Y8 F# D# C#X9    G C#                                                      Y9 C F#X10  E                                                          Y10 D#The purpose of writing this piece, based on EGD, is to show how a simple motive is expanded by applying various compositional techniques.

Small Ensemble - Digital Download SKU: A0.931089 Composed by Ylan Chu. Instructional. Score and parts. 32 pages. Ylan Chu #5953867. Published by Ylan Chu (A0.931089). This set features word searches on nine composers, using terms from the RCM syllabus as well as pertinent names and concepts. Teachers can print and copy pages as needed. The word lists can be used as vocabulary reminders, exercises, or fun assignments. Ideal for music history review. There are six bonus smaller word unscrambler puzzles (1-6 words) with the group topic as the clue.All in grayscale for easy printing or replicating. Formatted for 8.5 x 11, portrait, with space for hole-punching or binding. Work sheets are 1-2 pages. Answer keys are located at the end of the document.For more information about Ylan Chu, please visit her website: www.ylanchu.com.Classroom Resources; Homeschool Resources; PuzzlesSong ListWord SearchesHildegard von BingenAntonio VivaldiJohann Sebastian BachGeorge Frideric HandelFranz Joseph HaydnWolfgang Amadeus MozartLudwig van BeethovenMaurice RavelArnold SchoenbergWord UnscramblerSoloPairTriangleGroup of FourThe FiveLes Six