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Vous avez sélectionné:
I Got the Feelin' - 1st Trombone
Partitions à imprimer
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I Got The Feelin'
Quatuor de Cuivres: 2 trompettes, Cor, trombone
Brass Quartet - Early Intermediate - Digital Download By James Brown. Arranged by J…
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Brass Quartet - Early Intermediate - Digital Download By James Brown. Arranged by Jeff Tincher. Score, Set of Parts. 17 pages. Published by Jeff Tincher
It's time to get your funk on !!! This is one of James Brown's early hits. In the original key from the single release, this one will have you movin' to the groove. This arrangement include the ending from his 1968 Boston Gardens concert. Duration = 2:51. https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.It's time to get your funk on !!! This is one of James Brown's early hits. In the original key from the single release, this one will have you movin' to the groove. This arrangement include the ending from his 1968 Boston Gardens concert. Duration = 2:51. https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.
$12.99
11.86 €
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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James Brown
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Jeff Tincher
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I Got The Feelin'
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Jeff Tincher
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SheetMusicPlus
I Got The Feelin' (18-Piece Digital Pack)
Ensemble Jazz
Jazz band Drums - Level 4 - Digital Download SKU: HX.303770 By James Brown. Arrange…
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Jazz band Drums - Level 4 - Digital Download SKU: HX.303770 By James Brown. Arranged by Paul Murtha. Funk,Pop,Soul. Individual instrument part. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.303770).
Digital Pack includes:I Got The Feelin' - Trumpet 1I Got The Feelin' - Trumpet 2I Got The Feelin' - Trumpet 3I Got The Feelin' - Trumpet 4I Got The Feelin' - Trombone 1I Got The Feelin' - Trombone 2I Got The Feelin' - Trombone 3I Got The Feelin' - Trombone 4I Got The Feelin' - GuitarI Got The Feelin' - PianoI Got The Feelin' - BassI Got The Feelin' - Conductor Score (Full Score)I Got The Feelin' - Alto Sax 1I Got The Feelin' - Alto Sax 2I Got The Feelin' - Tenor Sax 1I Got The Feelin' - Tenor Sax 2I Got The Feelin' - Baritone SaxI Got The Feelin' - Drums
Digital Pack includes
:
I Got The Feelin' - Trumpet 1
I Got The Feelin' - Trumpet 2
I Got The Feelin' - Trumpet 3
I Got The Feelin' - Trumpet 4
I Got The Feelin' - Trombone 1
I Got The Feelin' - Trombone 2
I Got The Feelin' - Trombone 3
I Got The Feelin' - Trombone 4
I Got The Feelin' - Guitar
I Got The Feelin' - Piano
I Got The Feelin' - Bass
I Got The Feelin' - Conductor Score (Full Score)
I Got The Feelin' - Alto Sax 1
I Got The Feelin' - Alto Sax 2
I Got The Feelin' - Tenor Sax 1
I Got The Feelin' - Tenor Sax 2
I Got The Feelin' - Baritone Sax
I Got The Feelin' - Drums
$50.00
45.63 €
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Ensemble Jazz
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James Brown
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Paul Murtha
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I Got The Feelin'
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Hal Leonard - Digital
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SheetMusicPlus
I Gotta Feeling
Trombone
Trombone Solo - Level 3 - Digital Download SKU: A0.606873 By The Black Eyed Peas. B…
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Trombone Solo - Level 3 - Digital Download SKU: A0.606873 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Kevin Busse. Hip-Hop,R & B. Individual part. 3 pages. Kevin Busse #4603947. Published by Kevin Busse (A0.606873). This is a simple transcription of I Gotta Feeling in the original key for Trombone.
$4.99
4.55 €
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Trombone
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The Black Eyed Peas
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Kevin Busse
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I Gotta Feeling
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Kevin Busse
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SheetMusicPlus
I Gotta Feeling
Trombone
Trombone Solo - Level 1 - Digital Download SKU: A0.606909 By The Black Eyed Peas. B…
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Trombone Solo - Level 1 - Digital Download SKU: A0.606909 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Kevin Busse. Hip-Hop,R & B. Individual part. 3 pages. Kevin Busse #4604189. Published by Kevin Busse (A0.606909). This is a simple transcription of I Gotta Feeling in the easy key of C for Trombone.
$4.99
4.55 €
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Trombone
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The Black Eyed Peas
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Kevin Busse
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I Gotta Feeling
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Kevin Busse
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SheetMusicPlus
I Gotta Feeling
Trombone
Trombone Solo - Level 2 - Digital Download SKU: A0.606892 By The Black Eyed Peas. B…
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Trombone Solo - Level 2 - Digital Download SKU: A0.606892 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Kevin Busse. Hip-Hop,R & B. Individual part. 3 pages. Kevin Busse #4604029. Published by Kevin Busse (A0.606892). This is a simple transcription of I Gotta Feeling in a good range for Trombone.
$4.99
4.55 €
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Trombone
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The Black Eyed Peas
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Kevin Busse
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I Gotta Feeling
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Kevin Busse
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SheetMusicPlus
I Got The Feelin' - Trombone 4
Trombone (partie séparée)
By James Brown. Arranged by Paul Murtha. Jazz band. For Trombone 4. Funk; Pop; Soul. Indiv…
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By James Brown. Arranged by Paul Murtha. Jazz band. For Trombone 4. Funk; Pop; Soul. Individual instrument part. 2 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.48 €
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Trombone (partie séparée)
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James Brown
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Paul Murtha
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Pop
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I Got The Feelin' - Trombone 4
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
I Got The Feelin' - Trombone 2
Trombone (partie séparée)
By James Brown. Arranged by Paul Murtha. Jazz band. For Trombone 2. Funk; Pop; Soul. Indiv…
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By James Brown. Arranged by Paul Murtha. Jazz band. For Trombone 2. Funk; Pop; Soul. Individual instrument part. 2 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.48 €
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Trombone (partie séparée)
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James Brown
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Paul Murtha
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Pop
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I Got The Feelin' - Trombone 2
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
I Got The Feelin' - Trombone 3
Trombone (partie séparée)
By James Brown. Arranged by Paul Murtha. Jazz band. For Trombone 3. Funk; Pop; Soul. Indiv…
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By James Brown. Arranged by Paul Murtha. Jazz band. For Trombone 3. Funk; Pop; Soul. Individual instrument part. 2 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.48 €
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Trombone (partie séparée)
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James Brown
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Paul Murtha
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Pop
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I Got The Feelin' - Trombone 3
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
I Gotta Feeling
Trombone
Interactive Download SKU: HX.372910 By The Black Eyed Peas. This edition: Interacti…
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Interactive Download SKU: HX.372910 By The Black Eyed Peas. This edition: Interactive Download. Pop. Trombone Solo. 2 pages. Published by Hal Leonard - Digital (HX.372910).
$2.99
2.73 €
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Trombone
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The Black Eyed Peas
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I Gotta Feeling
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Hal Leonard - Digital
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SheetMusicPlus
I Gotta Feeling (19-Piece Digital Pack)
Ensemble Jazz
Jazz band - Level 3 - Digital Download SKU: HX.139220 By The Black Eyed Peas. By Al…
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Jazz band - Level 3 - Digital Download SKU: HX.139220 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Paul Murtha. Pop. Individual instrument part. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.139220).
Digital Pack includes:I Gotta Feeling - Full ScoreI Gotta Feeling - Alto Sax 1I Gotta Feeling - Alto Sax 2I Gotta Feeling - Tenor Sax 1I Gotta Feeling - Tenor Sax 2I Gotta Feeling - Baritone SaxI Gotta Feeling - Trumpet 1I Gotta Feeling - Trumpet 2I Gotta Feeling - Trumpet 3I Gotta Feeling - Trumpet 4I Gotta Feeling - Trombone 1I Gotta Feeling - Trombone 2I Gotta Feeling - Trombone 3I Gotta Feeling - Trombone 4I Gotta Feeling - GuitarI Gotta Feeling - PianoI Gotta Feeling - BassI Gotta Feeling - DrumsI Gotta Feeling - Aux Percussion
Digital Pack includes
:
I Gotta Feeling - Full Score
I Gotta Feeling - Alto Sax 1
I Gotta Feeling - Alto Sax 2
I Gotta Feeling - Tenor Sax 1
I Gotta Feeling - Tenor Sax 2
I Gotta Feeling - Baritone Sax
I Gotta Feeling - Trumpet 1
I Gotta Feeling - Trumpet 2
I Gotta Feeling - Trumpet 3
I Gotta Feeling - Trumpet 4
I Gotta Feeling - Trombone 1
I Gotta Feeling - Trombone 2
I Gotta Feeling - Trombone 3
I Gotta Feeling - Trombone 4
I Gotta Feeling - Guitar
I Gotta Feeling - Piano
I Gotta Feeling - Bass
I Gotta Feeling - Drums
I Gotta Feeling - Aux Percussion
$45.00
41.07 €
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Ensemble Jazz
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The Black Eyed Peas
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Paul Murtha
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I Gotta Feeling
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Hal Leonard - Digital
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SheetMusicPlus
Dust In The Wind
Acoustic Guitar,Alto Flute,Cello,Horn,Tenor Saxophone,Trombone,Violin - Level 3 - Digital …
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Acoustic Guitar,Alto Flute,Cello,Horn,Tenor Saxophone,Trombone,Violin - Level 3 - Digital Download SKU: A0.1368317 By Kansas. By Kerry Livgren. Arranged by Jon Thingvall. Pop,Rock. 45 pages. Jon Thingvall #952661. Published by Jon Thingvall (A0.1368317). Seeking a modern setting for a French Horn solo? Is the community--or are the students--feeling that classical music is stuffy? Got a budding Guitar Hero with nowhere to play? Want to give the orchestra a break, without stopping the program completely? Need a relaxed, quasi-Adagio for the concert's pacing?This is a record-copy of KANSAS' classic rock ballad, scored for a fairly small ensemble. Most instruments can be substituted: Flute for Alto Flute, Viola or Cello for Violin, Flugelhorn for the Horn part, or 4 Trombone parts instead of 3 with Solo Horn.Acoustic Guitar (will need amp). (Part copied verbatim from the official video, with thanks to Kansas - Dust In The Wind Guitar Lesson Pt.1 - Intro & Verse (youtube.com))French Horn solo--  Steve Walsh's epic, almost-apocalyptic style seemed perfectly suited to the mystique of the French Horn. (Measure 102 is “as though spoken†like in the recording here:  https://youtu.be/tH2w6Oxx0kQ?t=126. If the audience isn't familiar with Steve's style, it may be better left as a quarter- or eighth-note (written F sharp), but if you've got a Hornist with the chops, I’ve tried to put the articulations in to imitate a spoken voice.)3 Trombones-- Mainly triadic pads, with two instances of 9ths in the upper bass clef.1 Tenor Sax / Double on Alto Flute The Sax will sound great sotto voce to the Horn. The Flute should be as soft as possible, and ethereal.Solo Violin  (Could be sectional, instead of solo.)Solo Cello (Ibid.)The official video has bongos at the end, but I felt the sparse score worked well. They could easily be improvised, if needed.
$30.00
27.38 €
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Kansas
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Jon Thingvall
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Verse (youtube
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Dust In The Wind
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Jon Thingvall
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SheetMusicPlus
I Gotta Feeling (25-Piece Digital Pack)
Orchestre d'harmonie
Concert band - Level 2 - Digital Download SKU: HX.139245 By The Black Eyed Peas. By…
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Concert band - Level 2 - Digital Download SKU: HX.139245 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Michael Brown. Pop. 1 pages. Duration 100. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.139245).
Digital Pack includes:I Gotta Feeling - Full ScoreI Gotta Feeling - FluteI Gotta Feeling - OboeI Gotta Feeling - BassoonI Gotta Feeling - Bb Clarinet 1I Gotta Feeling - Bb Clarinet 2I Gotta Feeling - Bb Clarinet 3I Gotta Feeling - Eb Alto ClarinetI Gotta Feeling - Bb Bass ClarinetI Gotta Feeling - Eb Alto Saxophone 1I Gotta Feeling - Eb Alto Saxophone 2I Gotta Feeling - Bb Tenor SaxophoneI Gotta Feeling - Eb Baritone SaxophoneI Gotta Feeling - Bb Trumpet 1I Gotta Feeling - Bb Trumpet 2I Gotta Feeling - F HornI Gotta Feeling - TromboneI Gotta Feeling - Baritone B.C.I Gotta Feeling - Baritone T.C.I Gotta Feeling - TubaI Gotta Feeling - Convertible Bass LineI Gotta Feeling - Percussion 1I Gotta Feeling - Percussion 2I Gotta Feeling - Mallet PercussionI Gotta Feeling - Timpani
Digital Pack includes
:
I Gotta Feeling - Full Score
I Gotta Feeling - Flute
I Gotta Feeling - Oboe
I Gotta Feeling - Bassoon
I Gotta Feeling - Bb Clarinet 1
I Gotta Feeling - Bb Clarinet 2
I Gotta Feeling - Bb Clarinet 3
I Gotta Feeling - Eb Alto Clarinet
I Gotta Feeling - Bb Bass Clarinet
I Gotta Feeling - Eb Alto Saxophone 1
I Gotta Feeling - Eb Alto Saxophone 2
I Gotta Feeling - Bb Tenor Saxophone
I Gotta Feeling - Eb Baritone Saxophone
I Gotta Feeling - Bb Trumpet 1
I Gotta Feeling - Bb Trumpet 2
I Gotta Feeling - F Horn
I Gotta Feeling - Trombone
I Gotta Feeling - Baritone B.C.
I Gotta Feeling - Baritone T.C.
I Gotta Feeling - Tuba
I Gotta Feeling - Convertible Bass Line
I Gotta Feeling - Percussion 1
I Gotta Feeling - Percussion 2
I Gotta Feeling - Mallet Percussion
I Gotta Feeling - Timpani
$40.00
36.51 €
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Orchestre d'harmonie
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The Black Eyed Peas
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Michael Brown
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I Gotta Feeling
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Hal Leonard - Digital
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SheetMusicPlus
I Gotta Feeling
Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - Digital Download …
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Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.752383 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Rob Bushnell. Hip-Hop,Pop,R & B. 38 pages. RBMusic #5210549. Published by RBMusic (A0.752383). Produced by David Guetta and Frédéric Riesterer, I Gotta Feeling is the second single from the album The E.N.D., the fifth released by The Black Eyed Peas. It debuted at number two on the Billboard Hot 100, behind the group’s song Boom Boom Pow, making the one of only eleven artists who have held the top two positions at the same time. It reached number one in the US charts and won the group the Grammy for the Best Pop Performance by a Duo or Group with Vocals. The album also won Best Pop Vocal Album and Best Short Form Music Video as well as being nominated for Album of the Year and Record of the Year. I Gotta Feeling became the first song to sell over 7 million digital copies in the United States in March 2011 and holds the record as the best digital seller in history. It spent 14 consecutive weeks at the of the Billboard Hot 100, making it the longest-running number-one single of 2009. This arrangement includes oompah sections, as well as alternative parts for tenor horn, treble-clef euphonium, and tubas (both bass and treble clef). A recording of the original song can be found on YouTube: https://www.youtube.com/watch?v=uSD4vsh1zDA. Other searchable terms: World Music Awards, Frederic Riesterer, William Adams, Allan Pineda, Jaime Gomez, Stacy Ferguson, will.i.am, Square Prod, Paris, France, Metropolis Studios, London, England, United Kingdom, Take a Dive, Bryan Pringle, The Police, Every Breath You Take, Five Stairsteps, Ooh Child, I'll Go Crazy If I Don't Go Crazy Tonight, Kick-off Party, The Oprah Winfrey Show, Super Bowl XLV, FIRST Robotics Competition World Championships, Queen Elizabeth II, Diamond Jubilee, Jessie J, Southeast Asian Games, J Rey, Soul, Jessica Reynoso, Apl.de.ap, Fergie, Taboo, Hollywood Boulevard, Dipdive, Mikey Mee, Little Minx, Katy Perry, Kid Cudi, Gossip, Dean Caten, Dan Caten, Dsquared2, RuPaul, Ongina, CBS, CNN, Winter Olympics, Vancouver, Sochi, The Big Band Theory, Miami Medical, Horrid Henry, G-Force
$16.99
15.51 €
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The Black Eyed Peas
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Rob Bushnell
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I Gotta Feeling
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RBMusic
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SheetMusicPlus
I Gotta Feeling
Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - Digital Download …
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Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.752385 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Rob Bushnell. Hip-Hop,Pop,R & B. 41 pages. RBMusic #5213267. Published by RBMusic (A0.752385). Produced by David Guetta and Frédéric Riesterer, I Gotta Feeling is the second single from the album The E.N.D., the fifth released by The Black Eyed Peas. It debuted at number two on the Billboard Hot 100, behind the group’s song Boom Boom Pow, making the one of only eleven artists who have held the top two positions at the same time. It reached number one in the US charts and won the group the Grammy for the Best Pop Performance by a Duo or Group with Vocals. The album also won Best Pop Vocal Album and Best Short Form Music Video as well as being nominated for Album of the Year and Record of the Year. I Gotta Feeling became the first song to sell over 7 million digital copies in the United States in March 2011 and holds the record as the best digital seller in history. It spent 14 consecutive weeks at the of the Billboard Hot 100, making it the longest-running number-one single of 2009. This arrangement includes oompah sections, as well as alternative parts for tenor horn, treble-clef euphonium and tubas. A recording of the original song can be found on YouTube: https://www.youtube.com/watch?v=uSD4vsh1zDA. Other searchable terms: World Music Awards, Frederic Riesterer, William Adams, Allan Pineda, Jaime Gomez, Stacy Ferguson, will.i.am, Square Prod, Paris, France, Metropolis Studios, London, England, United Kingdom, Take a Dive, Bryan Pringle, The Police, Every Breath You Take, Five Stairsteps, Ooh Child, I'll Go Crazy If I Don't Go Crazy Tonight, Kick-off Party, The Oprah Winfrey Show, Super Bowl XLV, FIRST Robotics Competition World Championships, Queen Elizabeth II, Diamond Jubilee, Jessie J, Southeast Asian Games, J Rey, Soul, Jessica Reynoso, Apl.de.ap, Fergie, Taboo, Hollywood Boulevard, Dipdive, Mikey Mee, Little Minx, Katy Perry, Kid Cudi, Gossip, Dean Caten, Dan Caten, Dsquared2, RuPaul, Ongina, CBS, CNN, Winter Olympics, Vancouver, Sochi, The Big Band Theory, Miami Medical, Horrid Henry, G-Force
$16.99
15.51 €
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The Black Eyed Peas
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Rob Bushnell
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I Gotta Feeling
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RBMusic
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SheetMusicPlus
I Gotta Feeling (arr. Mark Brymer) (8-Piece Digital Pack)
Pack Instrumental pour Chorale
Digital Download SKU: HX.141289 By The Black Eyed Peas. By Allan Pineda, David Guet…
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Digital Download SKU: HX.141289 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Mark A. Brymer. Concert,Pop,Rock. Choral Instrumental Pak. 2 pages. Duration 165. Hal Leonard - Digital #204475. Published by Hal Leonard - Digital (HX.141289).
Digital Pack includes:I Gotta Feeling (arr. Mark Brymer) - Trumpet 1I Gotta Feeling (arr. Mark Brymer) - Trumpet 2I Gotta Feeling (arr. Mark Brymer) - Tenor SaxI Gotta Feeling (arr. Mark Brymer) - TromboneI Gotta Feeling (arr. Mark Brymer) - SynthesizerI Gotta Feeling (arr. Mark Brymer) - GuitarI Gotta Feeling (arr. Mark Brymer) - BassI Gotta Feeling (arr. Mark Brymer) - Drums
Digital Pack includes
:
I Gotta Feeling (arr. Mark Brymer) - Trumpet 1
I Gotta Feeling (arr. Mark Brymer) - Trumpet 2
I Gotta Feeling (arr. Mark Brymer) - Tenor Sax
I Gotta Feeling (arr. Mark Brymer) - Trombone
I Gotta Feeling (arr. Mark Brymer) - Synthesizer
I Gotta Feeling (arr. Mark Brymer) - Guitar
I Gotta Feeling (arr. Mark Brymer) - Bass
I Gotta Feeling (arr. Mark Brymer) - Drums
$30.00
27.38 €
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Pack Instrumental pour Chorale
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The Black Eyed Peas
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Mark A
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I Gotta Feeling
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Hal Leonard - Digital
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SheetMusicPlus
I Got The Feelin' - Trombone 1
Trombone (partie séparée)
By James Brown. Arranged by Paul Murtha. Funk; Pop; Soul. Individual instrument part. 2 pa…
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By James Brown. Arranged by Paul Murtha. Funk; Pop; Soul. Individual instrument part. 2 pages. Published by Hal Leonard - Digital Sheet Music (HX.303756). - individual instrument part - Funk; Pop; Soul - Hal Leonard - Digital Sheet Music
$6.00
5.48 €
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Trombone (partie séparée)
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James Brown
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Paul Murtha
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Pop
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I Got The Feelin' - Trombone 1
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Hal Leonard - Digital Sheet 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
21.89 €
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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
I Gotta Feeling
Large Ensemble Bass Voice,Drums,Guitar,Keyboard,Percussion,Saxophone,Trombone,Trumpet - Le…
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Large Ensemble Bass Voice,Drums,Guitar,Keyboard,Percussion,Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.717751 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Daryl McKenzie. Hip-Hop,R & B. Score and parts. 48 pages. Daryl McKenzie #3514775. Published by Daryl McKenzie (A0.717751). Vocal (voice part not included) with Big Band (5 Saxes, 4 trumpets, 4 Trombones, 2 Keyboards, Guitar, Bass, Drums, Percussion). Some vocals required by the brass section (simple rapping). As recorded by the Black Eyed Peas. Key of G.More arrangements by Daryl McKenzie: https://www.sheetmusicplus.com/publishers/daryl-mckenzie/6128?aff_id=674845
$49.99
45.62 €
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The Black Eyed Peas
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Daryl McKenzie
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I Gotta Feeling
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Daryl McKenzie
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SheetMusicPlus
I Gotta Feeling
Small Ensemble Guitar,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU…
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Small Ensemble Guitar,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.927584 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Thomas Ghea. Hip-Hop,R & B. Score and parts. 12 pages. Ghea Music Group #4301763. Published by Ghea Music Group (A0.927584). Cat. No: 10045Words and Music by Will Adams, Allan Pineda, Jaime Gomez, Stacy Ferguson, David Guetta and Fredrick RiestererArranged by Thomas GheaDifficulty: Grade 3Key: GTempo: 130bpmDuration: 4:50 approx.This is a 7-piece party band arrangement of The Black Eyed Peas' hit I Gotta Feeling written for the popular party band instrumentation of trumpet, tenor sax, trombone, guitar, keyboards, bass and drums with one or two vocalists. This arrangement is aimed at commercial ensembles but would also be appropriate for school ensembles and students. Included is a full set of performance parts, no score.
$15.00
13.69 €
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The Black Eyed Peas
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Thomas Ghea
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I Gotta Feeling
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Ghea Music Group
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SheetMusicPlus
I Gotta Feeling
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Guitar,Keyboard,Tenor Sa…
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Guitar,Keyboard,Tenor Saxophone,Trombone,Trumpet - Digital Download SKU: A0.764227 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Steve Hoover. Hip-Hop,R & B. Score and parts. 50 pages. Steve Hoover Music #3210701. Published by Steve Hoover Music (A0.764227). I Gotta Feeling - BLACK EYED PEAS - PRO COMBO - 6 HORNS! - opt KEYS 2scored for trumpet 1, trumpet 2, trombone, alto sax, tenor sax, bari sax, keyboard 1, keyboard 2 (opt.), guitar, bass, drumsNO VOCAL CHART PROVIDED
$19.99
18.24 €
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The Black Eyed Peas
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Steve Hoover
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I Gotta Feeling
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Steve Hoover Music
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SheetMusicPlus
I Got the Feelin' - 2nd Trombone
Trombone (partie séparée)
By James Brown. Arranged by Paul Murtha. Funk; Pop; Rock; Soul. Marching Band. 1 pages. Pu…
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By James Brown. Arranged by Paul Murtha. Funk; Pop; Rock; Soul. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music (HX.307840). - Marching Band - Funk; Pop; Rock; Soul - Hal Leonard - Digital Sheet Music
$6.00
5.48 €
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Trombone (partie séparée)
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James Brown
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Paul Murtha
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Pop
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I Got the Feelin' - 2nd Trombone
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
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