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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
Eric Rath Music
Non classifié
78
Piano & claviers
Piano seul
11
Piano, Voix
8
Orgue
3
Accompagnement Piano
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Instruments en Do
2
Piano Facile
1
1 Piano, 4 mains
1
Piano, Voix et Guitare
1
2 Pianos, 4 mains
1
+ 5 instrumentations
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Guitares
Guitare
5
Guitare notes et tablatures
5
Banjo
2
Ukulele
1
Basse electrique
1
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Voix Soprano, Piano
4
Chorale SATB
4
Chorale TTBB
3
Chorale 2 parties
1
Voix basse, Piano
1
Vents
Clarinette et Piano
14
Flûte traversière et Piano
14
Quintette de Saxophone: 5 saxophones
11
Saxophone Tenor et Piano
10
Saxophone Baryton, Piano
10
Cor anglais, Piano
9
Hautbois, Piano (duo)
9
Saxophone Soprano et Piano
8
Clarinette Basse, Piano
8
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
6
Clarinette
6
Ensemble de Clarinettes
4
Saxophone Alto et Piano
4
Quintette de Flûte : 5 flûtes
4
Hautbois (partie séparée)
2
2 Flûtes traversières (duo)
2
Quatuor de Flûtes : 4 flûtes
2
Flûte traversière
1
Quatuor de Clarinettes: 4 clarinettes
1
Flûte et Guitare
1
Saxophone Alto
1
Flute (partie séparée)
1
2 Flûte à bec (duo)
1
Ensemble de Flûtes
1
2 Clarinettes (duo)
1
Flûte, Hautbois, Clarinette, Basson
1
Piccolo, Piano
1
+ 22 instrumentations
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Euphonium, Piano (duo)
12
Trombone et Piano
11
Cor anglais, Piano
9
Cor et Piano
9
Trompette (partie séparée)
7
Quatuor de Cuivres : 2 trompettes, trombone, tuba
7
Trombone (partie séparée)
6
Trompette, Piano
4
Ensemble de Trompettes
4
Ensemble de Trombones
4
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
3
Trompette
3
Cor
2
Tuba et Piano
1
+ 9 instrumentations
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Cordes
Violoncelle, Piano
12
Alto, Piano
8
Violon et Piano
8
Ensemble d'Altos
4
Violon
4
Ensemble de Violons
4
Quatuor à cordes: 2 violons, alto, violoncelle
4
Alto (partie séparée)
2
Alto seul
1
Violoncelle (partie séparée)
1
Violoncelle
1
Contrebasse (partie séparée)
1
Contre Basse
1
Violon (partie séparée)
1
2 Violons (duo)
1
2 Violoncelles (duo)
1
Violon, Violoncelle (duo)
1
Harpe
1
Trio à Cordes: 2 violons, violoncelle
1
+ 14 instrumentations
Retracter
Orchestre & Percussions
Ensemble Jazz
13
Orchestre d'harmonie
13
Orchestre
3
Orchestre de chambre
2
Orchestre à Cordes
2
Percussion
2
Orchestre, Violon
1
Ensemble de Percussions
1
Piano et Orchestre
1
Cloches
1
Ensemble de cuivres
1
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FLUTE A DIX…
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GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
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LUTH, THEOR…
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MARIMBA
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TRI ET FILTRES
Tri et filtres :
--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
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Eric Rath Music
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Fix You - Coldplay (String Orch + Rhythm Section)
By Coldplay. Score, Set of Parts. 18 pages. Published by Eric Rath Music (H0.217185-94115)…
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By Coldplay. Score, Set of Parts. 18 pages. Published by Eric Rath Music (H0.217185-94115). - Score,Set of Parts - - Eric Rath Music
$40.00
36.88 €
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Coldplay
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Fix You - Coldplay
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Eric Rath Music
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SheetMusicPlus
Dvorak: String Quartet No.12 in F Op.96 " American" Mvt.II Lento - symphonic wind dectet/bass
Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download
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Large Ensemble Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1143137 Composed by Antonin Dvorak. Arranged by Ray Thompson. Romantic Period. Score and parts. 23 pages. RayThompsonMusic #743323. Published by RayThompsonMusic (A0.1143137). Arranged wind dectet/bass 2nd mvt Lento - The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by AntonÃn Dvořák. It was written in 1893, during Dvořák's time in the United States of America. The quartet is one of the most popular in the chamber music repertoire. For the London premiere of his New World symphony, Dvořák wrote: As to my opinion I think that the influence of this country (it means the folk songs)) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in colour as in character,. A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America Specific American influences have been doubted: In fact the only American thing about the work is that it was written there, writes Paul Griffiths. The specific American qualities of the so-called American Quartet are not easily identifiable, writes Lucy Miller, ...Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour. I have NOT simply copied the string parts across to the winds, as other have done. Rather, I have arranged the piece as though it had been written for wind ensemblet, so have given the horns repeated notes , in the same way as the slow movement of the slow movement Dvorak's wind serenade., and also used the horns to sustain. Some of the arpeggio figures remain, but in a simplified form.and are shared between clarinets and bassoons.
$9.95
9.17 €
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Antonin Dvorak
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Ray Thompson
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Dvorak: String Quartet No.12 in F Op.96 " American" Mvt.II Lento - symphonic wind dectet/bass
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RayThompsonMusic
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SheetMusicPlus
Dvorak: String Quartet No.12 in F Op.96 “American" Mvt.II Lento - wind quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1127691 Composed by Antonin Dvorak. Arranged by Ray Thompson. Romantic Period,Spiritual. 16 pages. RayThompsonMusic #728293. Published by RayThompsonMusic (A0.1127691). 2nd mvt Lento - Arranged wind quintet The String Quartet in F major, Op. 96, nicknamed the American Quartet, is the 12th string quartet composed by AntonÃn Dvořák. It was written in 1893, during Dvořák's time in the United States of America. The quartet is one of the most popular in the chamber music repertoire. For the London premiere of his New World symphony, Dvořák wrote: As to my opinion I think that the influence of this country (it means the folk songs)) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in colour as in character,. A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America Specific American influences have been doubted: In fact the only American thing about the work is that it was written there, writes Paul Griffiths.[21] The specific American qualities of the so-called American Quartet are not easily identifiable, writes Lucy Miller, ...Better to look upon the subtitle as simply one assigned because of its composition during Dvořák's American tour. I have NOT simply copied the string parts across to the winds, as other have done. Rather, I have arranged the piece as though it had been written for wind quintet, so have given the horn repeated notes , in the same way as the slow movement of the slow movement Dvorak's wind serenade., and used the horn to sustain. Some of the arpeggio figures remain, but in a simplified form.and are shared between clarinet and bassoon.
$14.95
13.78 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Antonin Dvorak
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Ray Thompson
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Dvorak: String Quartet No.12 in F Op.96 “American" Mvt.II Lento - wind quintet
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RayThompsonMusic
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SheetMusicPlus
Fireflies - for Percussion Ensemble
Ensemble de Percussions
By Owl City. Arranged by Eric Rath. 31 pages. Published by Eric Rath Music (H0.221207-2063…
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By Owl City. Arranged by Eric Rath. 31 pages. Published by Eric Rath Music (H0.221207-206302). - - - Eric Rath Music
$20.00
18.44 €
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Ensemble de Percussions
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Owl City
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Eric Rath
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Fireflies - for Percussion Ensemble
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Eric Rath Music
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)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
22.12 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
maverick I (noise)
Clarinette
Double bass clarinet or bass clarinet solo - difficult - Digital Download SKU: S9.Q6998…
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Double bass clarinet or bass clarinet solo - difficult - Digital Download SKU: S9.Q6998 Composed by Benjamin Schweitzer. This edition: Sheet music. Clarinet Library. Downloadable. Duration 9 minutes. Schott Music - Digital #Q6998. Published by Schott Music - Digital (S9.Q6998). Maverick I [noise] is the first piece in a five-part series of solo compositions for double-bass instruments. The subtitle 'noise' points to the fact that the composition is pervaded by numerous noise-like elements - from extremely low windage noise to distorted multiphonics. However, the piece is not only noise-like, it rather contains musical elements, such as multiphonics, repetitions and stationary tones, that gradually develop from the 'overloaded' beginning, with hard cuts and harsh sounds still determining the uncompromising character of the piece.
$11.99
11.05 €
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Clarinette
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Benjamin Schweitzer
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maverick I
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Schott Music - Digital
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SheetMusicPlus
South American Suite
(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b…
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(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b [ad lib.], Bar-Sax-es [ad lib.], 4 Hn-es [3., 4. ad lib.], Trp-b, 3 Pos, 2 Flg-Hn-b, 3 T-Hn-b [3. ad lib.], Bar, 2 Tb, Pk, Schlgz); Singstimme ad lib. Voice - Digital Download SKU: S9.Q5961 Aus Seefahrt nach Rio. Composed by Heinz Geese. Arranged by Rolf Granderath. This edition: separate part. Schott Harmony Series. Downloadable, Individual part. Schott Music - Digital #Q5961. Published by Schott Music - Digital (S9.Q5961). Rolf Granderath has put together a sequence of the most spirited tunes and stirring Latin American rhythms from Heinz Geese’s popular children’s musical “the boat trip to Rio†(ED 6585 / ED 6586) and arranged them for (youth) wind band. (Children’s) voices may be added ad libitum.
$2.99
2.76 €
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Heinz Geese
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Rolf Granderath
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Singstimme ad lib
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South American Suite
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Schott Music - Digital
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SheetMusicPlus
South American Suite
Orchestre d'harmonie
(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b…
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(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b [ad lib.], Bar-Sax-es [ad lib.], 4 Hn-es [3., 4. ad lib.], Trp-b, 3 Pos, 2 Flg-Hn-b, 3 T-Hn-b [3. ad lib.], Bar, 2 Tb, Pk, Schlgz); Singstimme ad lib. wind band - Digital Download SKU: S9.Q5960 Aus Seefahrt nach Rio. Composed by Heinz Geese. Arranged by Rolf Granderath. This edition: condensed score. Schott Harmony Series. Downloadable, Conductor reduction. Schott Music - Digital #Q5960. Published by Schott Music - Digital (S9.Q5960). Rolf Granderath has put together a sequence of the most spirited tunes and stirring Latin American rhythms from Heinz Geese’s popular children’s musical “the boat trip to Rio†(ED 6585 / ED 6586) and arranged them for (youth) wind band. (Children’s) voices may be added ad libitum.
$15.99
14.74 €
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Orchestre d'harmonie
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Heinz Geese
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Rolf Granderath
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Singstimme ad lib
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South American Suite
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Schott Music - Digital
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SheetMusicPlus
South American Suite
(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b…
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(2 Fl, 2 Ob [ad lib.], 2 Fag [ad lib.], Klar-es, 3 Klar-b, 2 A-Sax-es [ad lib.], 2 T-Sax-b [ad lib.], Bar-Sax-es [ad lib.], 4 Hn-es [3., 4. ad lib.], Trp-b, 3 Pos, 2 Flg-Hn-b, 3 T-Hn-b [3. ad lib.], Bar, 2 Tb, Pk, Schlgz); Singstimme ad lib. wind band - Digital Download SKU: S9.Q5962 Aus Seefahrt nach Rio. Composed by Heinz Geese. Arranged by Rolf Granderath. This edition: set of parts. Schott Harmony Series. Downloadable, Set of parts. Schott Music - Digital #Q5962. Published by Schott Music - Digital (S9.Q5962). Rolf Granderath has put together a sequence of the most spirited tunes and stirring Latin American rhythms from Heinz Geese’s popular children’s musical “the boat trip to Rio†(ED 6585 / ED 6586) and arranged them for (youth) wind band. (Children’s) voices may be added ad libitum.
$67.99
62.68 €
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Heinz Geese
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Rolf Granderath
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Singstimme ad lib
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South American Suite
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Schott Music - Digital
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SheetMusicPlus
Rather Be
Chorale SATB
Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.796799 By Clean Ban…
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Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.796799 By Clean Bandit Feat. Jess Glynne. By Grace Chatto, Jack Patterson, James Napier, and Nicole Marshall. Arranged by Eric Hagmann. A Cappella. Octavo. 10 pages. Eric Hagmann #3532751. Published by Eric Hagmann (A0.796799). An SATB w/ divisi + solo contemporary a cappella arrangement of Rather Be by Clean Bandit. This chart takes the energy of the original tune and expands on that by adding enriching background harmony along with a solid bass groove. If you've got a killer treble vocalist who wants to show off their voice, this arrangement is an excellent choice for your high school or college ensemble! Ranges:Solo: F#3 - F#5Soprano: B3 - D#5Alto: A#3 - D#5Tenor: E3 - G#4Bass: E2 - B3Performance time = approx. 3:45Feel free to follow me on Facebook and reach out with any questions: https://www.facebook.com/erichagmannmusic/
$2.25
2.07 €
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Chorale SATB
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Clean Bandit Feat
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Eric Hagmann
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Rather Be
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Eric Hagmann
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SheetMusicPlus
(1) Duke of York's March. (2) Mrs. Fraser's Strathspay
Piano seul
Piano - Digital Download SKU: LV.1097 Lester S. Levy Collection. 2 pages. Published…
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Piano - Digital Download SKU: LV.1097 Lester S. Levy Collection. 2 pages. Published by Johns Hopkins University Sheridan Libraries (LV.1097). (1) Duke of York's March. (2) Mrs. Fraser's Strathspay. n. Published [n.d.] by in n.p. Composition of (1) da capo with trio. (2) sectional with piano instrumentation. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.52 €
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Piano seul
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(1) Duke of York's March.
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Latin-American-Suite
Violon et Piano
Violin and piano - difficult - Digital Download SKU: S9.Q5730 Reprint. Compo…
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Violin and piano - difficult - Digital Download SKU: S9.Q5730 Reprint. Composed by Stanley Weiner. This edition: Sheet music. Violin Library. Downloadable. Schott Music - Digital #Q5730. Published by Schott Music - Digital (S9.Q5730). Stanley Weiner (1925-1951) is mainly remembered as a performer: a solo violinist. His musical career was predetermined for his father served as assistant principal violinist to the Baltimore Symphony Orchestra. At the age of 8, little Stanley gave solo performances, auditioned for Leonard Bernstein in 1947 and thus became the youngest principal violinist of the New York Symphony Orchestra. Weiner's career as a composer started rather late, at the age of 35, but then he wrote over 200 works, particularly instrumental music of all genres. The 'Latin American Suite', dedicated to the violin virtuoso David Oistrach, is an effective work which begins with a sweeping virtuoso Allegro con brio. Baroque form, expressive melody and delicate sound effects are combined in the middle movement, headed Basso ostinato, until the work culminates in a rhythmically fresh and capricious Molto vivace.
$19.99
18.43 €
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Violon et Piano
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Stanley Weiner
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Latin-American-Suite
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Schott Music - Digital
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SheetMusicPlus
Eric Rath: Soothsayer - concert band (full score)
Orchestre d'harmonie
Instantly printable sheet music by Eric Rath for concert band (full score) of MEDIUM skill…
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Instantly printable sheet music by Eric Rath for concert band (full score) of MEDIUM skill level. / instructional
$11.99
11.05 €
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Orchestre d'harmonie
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Eric Rath
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Virtualsheetmusic
Eric Rath: Soothsayer (COMPLETE) - concert band
Orchestre d'harmonie
Instantly printable sheet music by Eric Rath for concert band of MEDIUM skill level. / ins…
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Instantly printable sheet music by Eric Rath for concert band of MEDIUM skill level. / instructional
$79.99
73.74 €
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Orchestre d'harmonie
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Eric Rath
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Virtualsheetmusic
Eric Rath: Full Score Shadow of the Longship: Score - concert band
Orchestre d'harmonie
Instantly printable sheet music by Eric Rath for concert band of MEDIUM skill level. /
Instantly printable sheet music by Eric Rath for concert band of MEDIUM skill level. /
$7.98
7.36 €
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Orchestre d'harmonie
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Eric Rath
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Virtualsheetmusic
Eric Rath: Unintended Consequences (Sound Innovations Soloist, Snare Drum and/or Xylophone) - chamber ensemble
Instantly printable sheet music by Eric Rath for chamber ensemble of EASY/MEDIUM skill lev…
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Instantly printable sheet music by Eric Rath for chamber ensemble of EASY/MEDIUM skill level. / instructional
$7.97
7.35 €
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Eric Rath
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Virtualsheetmusic
Eric Rath: Japanese War March - concert band (full score)
Orchestre d'harmonie
Instantly printable sheet music by Eric Rath for concert band (full score) of MEDIUM skill…
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Instantly printable sheet music by Eric Rath for concert band (full score) of MEDIUM skill level. / instructional
$7.99
7.37 €
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Orchestre d'harmonie
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Eric Rath
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Virtualsheetmusic
Eric Rath: Japanese War March (COMPLETE) - concert band
Orchestre d'harmonie
Instantly printable sheet music by Eric Rath for concert band of MEDIUM skill level. / ins…
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Instantly printable sheet music by Eric Rath for concert band of MEDIUM skill level. / instructional
$59.99
55.31 €
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Orchestre d'harmonie
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Eric Rath
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Virtualsheetmusic
Eric Rath: Where Morning Dawns, Where Evening Fades - concert band (full score)
Orchestre d'harmonie
Instantly printable sheet music by Eric Rath for concert band (full score) of MEDIUM skill…
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Instantly printable sheet music by Eric Rath for concert band (full score) of MEDIUM skill level. / instructional
$7.99
7.37 €
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Orchestre d'harmonie
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Eric Rath
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Virtualsheetmusic
Eric Rath: Where Morning Dawns, Where Evening Fades (COMPLETE) - concert band
Orchestre d'harmonie
Instantly printable sheet music by Eric Rath for concert band of MEDIUM skill level. / ins…
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Instantly printable sheet music by Eric Rath for concert band of MEDIUM skill level. / instructional
$74.99
69.13 €
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Orchestre d'harmonie
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Eric Rath
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Virtualsheetmusic
Would You Rather Be a Colonel With an Eagle on Your Shoulder, or a Private With a Chicken on Your Knee
Piano, Voix
Piano and voice - Digital Download SKU: LV.23875 Composed by Archie Gottler. Portra…
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Piano and voice - Digital Download SKU: LV.23875 Composed by Archie Gottler. Portraits, Fathers & sons, Soldiers, Courtship, Love, World War I. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV.23875). Would You Rather Be a Colonel With an Eagle on Your Shoulder, or a Private With a Chicken on Your Knee. Words by Sidney D. Mitchell. Music by Archie Gottler. Published 1918 by Leo Feist, Inc. in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, Fathers & sons, Soldiers, Courtship, Love, World War I. First line reads Once I heard a father ask his soldier son, Why can't you advance like other boys have done?.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.52 €
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Piano, Voix
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Archie Gottler
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Would You Rather Be a Colonel With an Eagle on Your Shoulder, or a Private With a Chicken on Your Knee
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
I'd Rather Love What I Cannot Have (Than Have What I Cannot Love)
Piano, Voix
Piano and voice - Digital Download SKU: LV.9207 Composed by Elsie Janis. Celebritie…
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Piano and voice - Digital Download SKU: LV.9207 Composed by Elsie Janis. Celebrities, Portraits, Unrequited love, Single women, Distress. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.9207). I'd Rather Love What I Cannot Have (Than Have What I Cannot Love). Words and Music by Elsie Janis. Published 1911 by Jerome H. Remick & Co. in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Celebrities, Portraits, Unrequited love, Single women, Distress. First line reads I'm feeling blue, discouraged, too, you don't mind if I should tell my woes to you?.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.52 €
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Piano, Voix
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Elsie Janis
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I'd Rather Love What I Cannot Have
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
American Pig
Guitare notes et tablatures
Guitar TAB - Digital Download SKU: AX.00-PS-0001282 By Sugar Ray. By Craig Bullock,…
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Guitar TAB - Digital Download SKU: AX.00-PS-0001282 By Sugar Ray. By Craig Bullock, Mark McGrath, Murphy Karges, Rodney Sheppard, and Stan Frazier. Pop/Rock. 7 pages. Alfred Music - Digital Sheet Music #00-PS-0001282. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0001282).
$2.99
2.76 €
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Guitare notes et tablatures
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Sugar Ray
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American Pig
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Solemn Meditation on a Theme by Irving Berlin (God Bless America ®)
Piano seul
Piano Solo - Intermediate - Digital Download By Celine Dion. Arranged by David Neff. …
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Piano Solo - Intermediate - Digital Download By Celine Dion. Arranged by David Neff. Sheet Music Single. 2 pages. Published by David Neff
This solemn meditation is based on Irving Berlin's "God Bless America," which he conceived as a peace song. He revised and heavily promoted it in the impending gloom before America entered World War II, and it reflects his gratitude as a Jewish refugee from Russian persecution for a free nation that allowed him to rise from poverty to prominence. This arrangement was conceived as a Memorial Day tribute to fallen and wounded warriors. It is solemn and reflective, rather than boisterous and exuberant. Use it in connection with any national holiday.This solemn meditation is based on Irving Berlin's "God Bless America," which he conceived as a peace song. He revised and heavily promoted it in the impending gloom before America entered World War II, and it reflects his gratitude as a Jewish refugee from Russian persecution for a free nation that allowed him to rise from poverty to prominence. This arrangement was conceived as a Memorial Day tribute to fallen and wounded warriors. It is solemn and reflective, rather than boisterous and exuberant. Use it in connection with any national holiday.
$4.99
4.6 €
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Piano seul
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Celine Dion
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David Neff
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Solemn Meditation on a Theme by Irving Berlin
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David Neff
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SheetMusicPlus
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