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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
High
Non classifié
504
Piano & claviers
Piano seul
376
Piano, Voix
50
Orgue
15
Piano Trio: piano, violon, violoncelle
12
Piano, Voix et Guitare
8
1 Piano, 4 mains
8
Instruments en Do
7
2 Pianos, 4 mains
6
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Accordéon
1
Clavecin
1
Orgue, Trompette (duo)
1
Accompagnement Piano
1
+ 9 instrumentations
Retracter
Guitares
Guitare
55
Guitare notes et tablatures
8
Ukulele
3
Basse electrique
2
3 Guitares (trio)
1
Guitare, Quatuor à cordes
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
87
Voix haute
55
Chorale TTBB
27
Chorale SSAA
25
Voix Soprano, Piano
17
Chorale 3 parties
6
Voix Tenor, Piano
6
Voix duo
4
Chorale
3
Voix Alto, Piano
3
Voix duo, Piano
2
Voix seule
2
Chorale 2 parties
2
Voix moyenne, Piano
2
Chorale Unison
2
Voix basse, Piano
1
Chorale SSAATTBB
1
Voix Baryton, Piano
1
Voix Soprano
1
Voix Tenor
1
Voix Mezzo-Soprano, Piano
1
+ 16 instrumentations
Retracter
Vents
Flûte traversière et Piano
42
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
23
Saxophone Alto
21
Clarinette et Piano
20
2 Flûte à bec (duo)
15
2 Saxophones (duo)
13
Flûte à Bec, Piano
13
Hautbois, Piano (duo)
10
Saxophone Soprano
10
Flûte traversière
10
Quatuor de Saxophones: 4 saxophones
10
Flûte, Hautbois, Clarinette, Basson
8
Saxophone Alto et Piano
8
Clarinette
8
Saxophone
6
Ensemble de saxophones
6
2 Flûtes traversières (duo)
6
Ensemble de Clarinettes
6
Quatuor de Clarinettes: 4 clarinettes
6
Saxophone Tenor et Piano
6
Saxophone Soprano et Piano
6
3 Clarinettes (trio)
6
Quintette de Saxophone: 5 saxophones
5
Hautbois (partie séparée)
4
Trio de Flûtes: 3 flûtes
3
Quatuor de Flûtes : 4 flûtes
3
Saxophone Tenor
2
Flûte et Guitare
2
Ensemble de Flûtes
2
Flûte, Clarinette, Piano (trio)
2
Flûte à bec Soprano
2
Clarinette Basse, Piano
2
Hautbois, Clarinette et Piano (Trio)
1
2 Clarinettes, Piano
1
Cornemuse
1
Saxophone et Orgue
1
Flûte à bec Alto, Piano
1
Clarinette, Violon (duo)
1
Flûte, Alto et Piano
1
Saxophone Baryton, Piano
1
Flûte à Bec
1
Piccolo, Piano
1
Flûte, Violon, Piano
1
Cor anglais, Piano
1
3 Saxophones (trio)
1
Hautbois, Basson et Piano
1
Quintette de Flûte : 5 flûtes
1
Clarinette et Alto
1
5 Flûtes à bec
1
2 Saxophones, Piano
1
+ 45 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
60
Cor et Piano
21
Trompette, Piano
17
Ensemble de Trombones
16
Trombone et Piano
16
Quatuor de Cuivres : 2 trompettes, trombone, tuba
12
Quatuor de Cuivres
11
Trompette
10
Tuba et Piano
9
Trombone
9
2 Trompettes (duo)
8
2 Trombones (duo)
7
Euphonium, Piano (duo)
7
Quatuor de cuivres: 4 trombones
7
Cor
5
Tuba
5
Ensemble de Trompettes
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Quatuor de cuivres: 4 trompettes
3
Quatuor de cuivres: 4 cors
3
2 Cors (duo)
3
Trombone, Tuba (duo)
2
4 Tubas
2
Euphonium
2
Trombone basse
2
3 Trombones (trio)
2
Ensemble de Cors
1
2 Euphoniums et 2 Tubas
1
Trombone, Orgue
1
3 Tubas (trio)
1
Trombone basse et Piano
1
Trio de Cuivres
1
Cor anglais, Piano
1
2 Euphoniums (duo)
1
Trombone et orchestre
1
Trompette (partie séparée)
1
+ 31 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
140
Violon et Piano
104
Violoncelle, Piano
62
Violon
36
Alto, Piano
31
Violoncelle
29
Harpe
21
Contrebasse, Piano (duo)
17
Alto seul
14
2 Violons (duo)
7
Violon, Violoncelle (duo)
6
Trio à cordes
6
Trio à Cordes: violon, alto, violoncelle
5
4 Violoncelles
3
Piano Trio: Violon, Alto, Piano
3
Violon, Alto (duo)
3
Trio à cordes: 3 violins
2
Trio à Cordes: 2 violons, violoncelle
2
2 Altos (duo)
1
Harpe, Violon (duo)
1
4 Harpes
1
Alto (partie séparée)
1
2 Violoncelles (duo)
1
Alto, Violoncelle (duo)
1
Violon (partie séparée)
1
Violoncelle, Contrebasse (duo)
1
+ 21 instrumentations
Retracter
Orchestre & Percussions
Ensemble Jazz
109
Orchestre d'harmonie
106
Orchestre
81
Orchestre à Cordes
45
Ensemble de cuivres
31
Orchestre de chambre
17
Jazz combo
9
Fanfare
8
Ensemble de Percussions
7
Cloches
7
Piano et Orchestre
6
Percussion
6
Batterie
2
Orchestre, Violon
2
+ 9 instrumentations
Retracter
Autres
Instruments
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ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
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Ensemble de Percussions
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1
Four Forces (First movement) I. Strong Forces
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Ensemble de Percussions
#
AVANCÉ
#
Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
#
SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pa...
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Percussion Ensemble - Level 5 - SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pages. Salvador Rojo-Gamon #5801913. Published by Salvador Rojo-Gamon (A0.962406). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$300.00
Four Forces (Second movement) II. Weak Forces
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Ensemble de Percussions
#
AVANCÉ
#
Salvador Rojo Gamón
#
Four Forces
#
Salvador Rojo-Gamon
#
SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pa...
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Percussion Ensemble - Level 5 - SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pages. Salvador Rojo-Gamon #5801921. Published by Salvador Rojo-Gamon (A0.962405). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$150.00
One Hour to Madness
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Ensemble de Percussions
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AVANCÉ
#
Contemporain
#
Dan Heslink
#
#
One Hour to Madness
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Pharaoh Publications
#
SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.935385 Composed by Dan Heslink. Contemporary. Score and parts. 36 pages. Pharaoh Publications #5775261. Publishe...
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Percussion Ensemble - Level 5 - SKU: A0.935385 Composed by Dan Heslink. Contemporary. Score and parts. 36 pages. Pharaoh Publications #5775261. Published by Pharaoh Publications (A0.935385). One Hour to Madness for percussion septet. by Dan Heslink From its opening motto to its bold closing summation, One Hour to Madness explores a high degree of musical energy. The title is loosely inspired by Walt Whitman’s marvelous poem, One Hour to Madness and Joy (Leaves of Grass). The music presents a dark and exciting expression couched in pervasive contrapuntal development. A high degree of dissonance is contrasted with the second theme’s clear Bb major tonality. The work’s contrapuntal nature is distilled into a fugato in the second half. Predominantly a mallet ensemble composition, scoring is for orchestra bells (2 mallets), xylophone (2 mallets), vibraphone (4 mallets), 3 marimbas (each with 2 mallets) and timpani. The timpani part is best performed on the standard set of 4 drums (23-24, 25-26, 28-29, 32-30). The marimba 1 part requires the standard range of 3 ½ or 4 octaves; the marimba 2 part can be executed on the standard 4-octave instrument by omitting a few octave doublings, or on a 5-octave instrument if one is available; marimba 3 requires a 5-octave instrument. The composer assigns a difficulty level of advanced. It will serve any concert or recital very well. Audiences and performers alike will enjoy the flashy passage work and musical impetus afforded by One Hour to Madness. Duration is 3:41. The composer, Dan Heslink, can be contacted at dan@dheslink.com.
$4.99
Another Place
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Ensemble de Percussions
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AVANCÉ
#
Contemporain
#
Adam Grim
#
Another Place
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Adam B. Grim
#
SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.939392 Composed by Adam Grim. 20th Century,Contemporary. Score and parts. 65 pages. Adam B. Grim #6862379. Publi...
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Percussion Ensemble - Level 5 - SKU: A0.939392 Composed by Adam Grim. 20th Century,Contemporary. Score and parts. 65 pages. Adam B. Grim #6862379. Published by Adam B. Grim (A0.939392). Another Place is a marimba quartet on two instruments with some accessory items like a mounted bass drum, cymbal, and wind chimes. The work is about 10.5 minutes long, and holds three distinct movements that begin with solemn rolls that slowly become more regimented and rhythmic. The second movement raises the bar and becomes very rhythmic and syncopated with a Reich-like approach of melody vs interlocking harmony. This climax brings a high dynamic level to the forefront of the instruments with interlocking impact points being contrasted to unison hits. The third movement takes this original melody and harmony to the next level by using changing time signatures and motivic ideas to maximize the powerful ending. Throughout there is a deep sense of color and texture that can be maximized by the ensemble in new and exciting ways with each performance. This has plenty of ink, but also leaves a lot to interpret and bring the ensemble’s voice forward. I hope you enjoy! This work won the Audience Award in the Rocky Mountain Music Composition Contest in 2022 as well as Second Prize overall. These international awards were judged by a panel of seven judges from around the world, but with the competition based out of Toronto, Canada.
$35.00
Street Beats for Percussion Quartet
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Ensemble de Percussions
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AVANCÉ
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David Chesky
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Street Beats for Percussion Qu
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Pamaluc Music
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.882386 Composed by David Chesky. Contemporary,Jazz. Score and parts. 207 pages. Pamaluc Music #18591. Published ...
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Percussion Ensemble - Level 5 - SKU: A0.882386 Composed by David Chesky. Contemporary,Jazz. Score and parts. 207 pages. Pamaluc Music #18591. Published by Pamaluc Music (A0.882386). A highly energized work for percussion quartet that uses the rhythms of the streets of New York. Latin, Hip hop, jazz collides with modern 21st century harmony. Duration 12:00 min Percussion Quartet.
$14.98
CLARINET CONCERTO (2019) for B-flat Clarinet and Orchestra (SCORE + PARTS)
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Ensemble de Percussions
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AVANCÉ
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Contemporain
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Richard St
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CLARINET CONCERTO
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Richard St. Clair
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.939825 Composed by Richard St. Clair. 20th Century,Contemporary. Score and parts. 192 pages. Richard St. Clair #...
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Percussion Ensemble - Level 5 - SKU: A0.939825 Composed by Richard St. Clair. 20th Century,Contemporary. Score and parts. 192 pages. Richard St. Clair #4854581. Published by Richard St. Clair (A0.939825). This highly animated Concerto for solo B-flat Clarinet and Orchestra is in a single movement. Long solo passages alternate with fuller instrumentation, rising to a climactic finale. Duration: ca. 14'30. Score and complete set of Parts attached.
$500.00
Gravity for Septet
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Ensemble de Percussions
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AVANCÉ
#
Contemporain
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MohammadHadi Ayanbod
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Gravity for Septet
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Rimorarte Edition
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.1027778 Composed by MohammadHadi Ayanbod. 20th Century,Contemporary. Score and parts. 25 pages. Rimorarte Editio...
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Percussion Ensemble - Level 5 - SKU: A0.1027778 Composed by MohammadHadi Ayanbod. 20th Century,Contemporary. Score and parts. 25 pages. Rimorarte Edition #5996957. Published by Rimorarte Edition (A0.1027778). In GRAVITY I explored different gravities as forces we not only feel them in every moments of our lives, but also thinking of living without or escaping from them seems impossible. Likewise, those gravities exist in the music, make us feel the music continuous, desirable, logical and an integrated language of art. The exploration of the path from chaos to unity, and from unity to multiplicity, is where the title came from. GRAVITY consists of two main sections. The first section, which shows the fully-grown and flourished musical ecosystem, and the second part; a flashback to just after big-bang, which tries to musicalize the creation of the gravity! In the first section, I’ve used the concept of horizontal and vertical minimalism. At the very beginning of the piece we have a structure that bring the idea of the vertical minimalism out. In every moment, each instrument plays the same note as others. However, the narrative line is divided into different octaves, so, the melody is not the same in spite of the fact that each instrument plays the same tone. This structure also reminds the paradoxical ladder or optical staircase illusion. The narration is built up until it reaches temporal climax. At the same time, this melody starts again from the beginning with some microscopic differences visible vividly to musicians. This semi reciprocating musical narration, could be observed as a musical example of the staircase illusion. After this part, but still in the first section of the music, I’ve used the horizontal (traditional) minimalism idioms to explore the bounding forces present in the music. Although, what interesting here is the creation of synthetic voices which is the result of different amounts of the nuances and different combinations of the sound. For keen ears, it seems like shades of neon lights, penetrate into one another in the scale of time and create a big picture of micro fluctuating objects. In the second section or just after big-bang, I’ve observed and recreate musically, the very moment of creation of the gravity just after the big-bang. Here, we don’t have melody, rhythm, structure, narration and other aspects of the music in the traditional way, although all of them are present in the music. very single sound or noise is meaningful and showing the assemblage process of the forces in the music to create a melody line. I’ve occupied idioms of contemporary Sonorism genre to create the atmosphere. This highly complex texture shows the virtuosity of interpreters and the capability of the instruments in avant-garde literature and extended techniques. The music is concluded by a fast-tempo finale, with the instruction of fortissimo possiblile (as loud as possible). The piece, in fact, will not be finished as a morendo, but, it opens a space for hypothetically living structure; constantly grows, flourishes, shines and decays.
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