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Non classifié
2607
PIANO & CLAVIERS
Piano seul
1179
Piano Facile
593
Instruments en Do
203
Piano, Voix
195
Piano, Voix et Guitare
145
Accordéon
57
Orgue
52
Piano Trio: piano, violon, violoncelle
38
1 Piano, 4 mains
35
Accompagnement Piano
34
Piano Quatuor: piano, violon, alto, violoncelle
16
2 Pianos, 4 mains
7
Clavecin
5
Piano Quatuor: piano, 2 violons, violoncelle
4
2 Pianos, 8 mains
2
Piano (partie séparée)
2
Ensemble d'Accordéons
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
1 Piano, 6 mains
1
Orgue, Trompette (duo)
1
Clavier
1
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GUITARES
Guitare notes et tablatures
143
Guitare
119
Ukulele
24
Mandoline
20
Dulcimer
15
Banjo
13
Ligne De Mélodie, (Paroles) et Accords
13
2 Guitares (duo)
11
2 Ukuleles
7
Basse electrique
7
Paroles et Accords
5
Guitare (partie séparée)
4
Piano, Guitare (duo)
3
4 Guitares (Quatuor)
2
3 Guitares (trio)
2
Ensemble de guitares
1
Guitare Pedal Steel
1
Luth
1
Guitare, Quatuor à cordes
1
Dobro
1
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VOIX
Chorale SATB
323
Chorale 3 parties
157
Chorale 2 parties
117
Voix seule
77
Voix Alto, Piano
72
Voix Baryton, Piano
58
Chorale Unison
42
Voix Soprano, Piano
41
Voix Tenor, Piano
38
Chorale SSAA
33
Voix duo, Piano
26
Chorale TTBB
26
Voix Tenor
25
Voix Soprano
24
Voix haute
10
Voix duo
10
Chorale SSAATTBB
4
Voix moyenne, Piano
3
Chorale SSATB
2
Voix basse, Piano
2
Voix basse
2
Chorale SSATTB
1
Voix Mezzo-Soprano, Piano
1
Chorale SSAB, Piano
1
Instrumentations suivantes
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VENTS
Clarinette et Piano
227
Hautbois, Piano (duo)
226
Clarinette
225
Quatuor de Saxophones: 4 saxophones
220
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
213
2 Saxophones (duo)
207
Flûte traversière et Piano
207
Flûte, Hautbois, Clarinette, Basson
202
2 Flûtes traversières (duo)
199
Flûte traversière
182
Quatuor de Clarinettes: 4 clarinettes
146
Quintette de Saxophone: 5 saxophones
128
2 Clarinettes (duo)
119
Saxophone Alto et Piano
109
Saxophone Alto
100
Saxophone Tenor et Piano
93
3 Saxophones (trio)
85
2 Flûte à bec (duo)
85
Hautbois
83
Hautbois (partie séparée)
81
2 Hautbois (duo)
77
Saxophone Soprano et Piano
74
Flûte, Clarinette (duo)
70
Saxophone Tenor
70
Hautbois, Clarinette (duo)
58
Hautbois, Basson (duo)
58
Saxophone Baryton, Piano
54
Saxophone (partie séparée)
52
3 Clarinettes (trio)
48
Flûte à Bec
44
Clarinette, Basson (duo)
41
Hautbois, Violoncelle
41
Flûte à bec Soprano
40
Flûte, Violoncelle
37
Clarinette, Violoncelle (duo)
36
Quatuor de Flûtes : 4 flûtes
35
Clarinette, Violon (duo)
33
2 Flûtes traversières, Piano
32
Quintette de Clarinettes: 5 clarinettes
31
Flûte, Clarinette et Basson
31
Ensemble De Flûte à bec
29
Saxophone Soprano
29
Clarinette (partie séparée)
29
Cor anglais, Piano
28
Saxophone Baryton
28
Flûte, Hautbois (duo)
28
Flûte, Violon
25
Flûte, Hautbois, Basson
24
Flûte, Alto (duo)
24
Quintette de Flûte : 5 flûtes
23
Saxophone
23
Trio de Flûtes: 3 flûtes
23
Hautbois, Flûte
21
Clarinette et Alto
20
Flûte, Hautbois, Clarinette (trio)
20
Flûte à bec Alto
19
Saxophone, Clarinette (duo)
19
Hautbois, Clarinette, Basson (trio d'anches)
18
Flûte, Basson et Piano
17
Quatuor de Flûtes à bec
17
Flûte, Violon, Piano
17
Ensemble de Clarinettes
17
Hautbois et alto (duo)
17
Hautbois, violon (duo)
14
Cor Anglais
14
Clarinette Basse, Piano
14
Flûte, Hautbois, Piano (trio)
13
Ensemble de Flûtes
13
Flute (partie séparée)
11
3 Flûtes à bec (trio)
11
Clarinette, Trompette (duo)
11
Clarinette, Violoncelle, Piano (trio)
9
Flûte et Guitare
8
Flûte, Clarinette, Piano (trio)
8
Ensemble de saxophones
8
Flûte, Trompette (duo)
8
Flûte, Violoncelle, Piano (trio)
8
Flute, harpe et violon
7
Hautbois, Violon, Piano
7
Clarinette, Harpe (duo)
7
Flûte, Trombone (duo)
7
Flûte, Alto et Piano
7
Clarinette, Basson, Piano (trio)
7
Clarinette, Guitare (duo)
7
Clarinette, Trombone (duo)
6
Flûte à bec Tenor
5
Clarinette, Alto et Piano (trio)
5
Hautbois, Basson et Piano
5
Saxophone et Harpe
5
Flûte à bec Soprano, Piano
4
Flûte, Saxophone (duo)
4
Hautbois, Clarinette et Piano (Trio)
4
Clarinette, Contrebasse (duo)
4
Hautbois, Violoncelle et Piano
4
Hautbois, trombone (duo)
4
Clarinette Basse
3
2 Clarinettes, Piano
3
Flûte à bec Alto, Piano
3
Flûte, Tuba (duo)
3
Harmonica
3
2 Saxophones, Piano
3
Clarinette, Tuba
3
Ocarina
2
Flûte, Harpe et Violoncelle
2
2 Hautbois, Piano
2
Flûte, Violon, Violoncelle et Piano
2
Hautbois, Harpe
2
Hautbois, Trompette (duo)
2
Piccolo, Piano
1
Ensemble de Hautbois
1
Flûte, alto et harpe
1
Flûte irlandaise
1
Saxophone et Guitare
1
2 Flûtes à bec, Piano
1
Instruments en Mib
1
Flûte, trombone et piano
1
Clarinette, trompette et piano
1
Flûte à bec, Guitare (duo)
1
3 Hautbois
1
Piccolo
1
5 Flûtes à bec
1
Instrumentations suivantes
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CUIVRES
Trombone et Piano
205
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
173
Trompette
161
Trompette, Piano
159
Cor et Piano
149
Cor
135
Trombone
134
Quatuor de Cuivres : 2 trompettes, trombone, tuba
127
Tuba
116
2 Trombones (duo)
104
Tuba et Piano
90
2 Trompettes (duo)
80
2 Cors (duo)
66
Trompette, Trombone (duo)
62
Quatuor de Cuivres: 2 trompettes, Cor, trombone
52
Quatuor de Cuivres
47
Trompette (partie séparée)
46
Trombone (partie séparée)
42
Euphonium, Piano (duo)
38
2 Tubas (duo)
35
Cor anglais, Piano
28
Trompette, Cor (duo)
26
Cor (partie séparée)
17
Trompette, Violoncelle (duo)
17
Trompette, Basson (duo)
16
Cor Anglais
14
Quatuor de cuivres: 4 cors
13
2 Euphoniums (duo)
12
Trompette, Saxophone (duo)
12
Quatuor de cuivres: 4 trombones
11
Tuba et Orgue
10
Cor, Violoncelle (duo)
9
Trompette, Tuba (duo)
8
Euphonium
8
Tuba (partie séparée)
8
Trombone basse
7
Trombone, Cor (duo)
7
Ensemble de Trompettes
7
3 Trombones (trio)
6
Ensemble de Trombones
6
Cor et Harpe
6
Cor et Basson (duo)
5
Quatuor de cuivres: 4 trompettes
5
3 Tubas (trio)
5
Trombone basse et Piano
4
Euphonium, Tuba (duo)
4
Trombone, Tuba (duo)
4
Trompette, Trombone, Piano
4
Ensemble de Cors
4
3 Cors (trio)
3
Trompette, Harpe
3
Trompette et Guitare
3
4 Tubas
3
Trio de Cuivres
3
Cor, Tuba (duo)
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Instruments en Sib
2
2 Cors, Piano
2
Trombone, Violon (duo)
2
2 Trompettes, Clavier (piano ou orgue)
2
Trompette, violon (duo)
2
Trompette, Violoncelle et Piano
1
Trombone, Alto (duo)
1
2 Euphoniums et 2 Tubas
1
Cor et Orgue
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
527
Violon et Piano
342
Violoncelle, Piano
221
Violoncelle
197
Alto, Piano
196
Violon
194
Violon, Violoncelle (duo)
193
Alto seul
152
2 Violons (duo)
116
Trio à Cordes: violon, alto, violoncelle
114
Violon, Alto (duo)
105
Contre Basse
103
2 Violoncelles (duo)
102
Contrebasse, Piano (duo)
98
Quintette à cordes: 2 violons, alto, violoncelle, basse
96
2 Altos (duo)
85
Harpe
84
Violon (partie séparée)
73
Trio à Cordes: 2 violons, violoncelle
59
Alto, Violoncelle (duo)
51
Alto (partie séparée)
34
Violon, Basson (duo)
33
2 Contrebasses (duo)
30
Contrebasse (partie séparée)
27
Violoncelle (partie séparée)
25
Piano Trio: Violon, Alto, Piano
24
4 Violoncelles
23
2 Harpes (duo)
17
Violoncelle, Contrebasse (duo)
17
Trio à cordes: 3 violins
17
Trio à Cordes: 3 violoncelles
16
Alto et Basson
15
Violon, Guitare (duo)
13
Quintette à cordes : 2 violons, alto et 2 violoncelles
13
Quatuor à cordes: 4 violons
11
Harpe, Flûte (duo)
11
Quatuor à cordes : 4 altos
10
Violon, Clarinette, Piano (trio)
10
Harpe, Violon (duo)
9
Alto et Harpe
6
Harpe, Voix
6
Trio à cordes: 3 altos
5
Harpe, Violoncelle (duo)
5
Quintette à cordes: 2 violons, 2 altos, violoncelle
5
Flûte, Contrebasse (duo)
4
Harpe, Violon, Violoncelle
4
Violoncelle , Guitare (duo)
3
Ensemble de Violons
3
2 Violoncelles, Piano
3
2 Violons, Piano
2
4 Contrebasses
2
Alto, Guitare (duo)
2
Trio à Cordes: 2 violons, alto
2
Violon, Tuba (duo)
2
Ensemble d'Altos
1
Harpe et Piano
1
4 Harpes
1
3 Contrebasses
1
Autoharp
1
Violoncelle, Basse continue
1
Violon, Violoncelle, Clarinette
1
Violon, Trompette et Piano
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
1905
Orchestre à Cordes
317
Orchestre
155
Fanfare
58
Ensemble Jazz
41
Orchestre de chambre
36
Ensemble de cuivres
34
Cloches
28
Marimba
17
Percussion (partie séparée)
15
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
11
Xylophone
11
Jazz combo
9
Xylophone, Piano
7
Ensemble de Percussions
6
Batterie (partie séparée)
3
Vibraphone
3
Batterie
3
Piano et Orchestre
1
Quintette à Vent
1
2 Marimbas
1
Percussion
1
Timbales (partie séparée)
1
Quintette de Cuivres: autres combinaisons
1
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
Music Melodies
Partitions à imprimer
20 569 partitions trouvées
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9976
Melodies
Orchestre
Orchestra - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: stu…
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Orchestra - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: study score. Music Of Our Time. Downloadable. Duration 12 minutes. Schott Music - Digital #Q23904. Published by Schott Music - Digital
I composed the orchestral piece Melodien in 1971. I tried to loosen up the dense micropolyphony of my musical language, to make it more transparent. Basically, I stayed true to my earlier style: the musical form unfolds like a stretched fabric in the continuously flowing time, but the individual voices no longer merge (as in my earlier music), rather they can be heard individually in their overlapping and interweaving . The voices become individual melodies, with their own style, their own tempo, rhythm and interval structure. If you listen to the work for the first time, it appears as a chaos of discrepant melodies - but if you know the music better, the internal connections become tangible, the hidden harmonic skeleton of the form becomes tangible. (Gyorgy Ligeti)<br> <br> This facsimile edition offers an impressive access to the composer's work. A study score in modern notation is also available.I composed the orchestral piece Melodien in 1971. I tried to loosen up the dense micropolyphony of my musical language, to make it more transparent. Basically, I stayed true to my earlier style: the musical form unfolds like a stretched fabric in the continuously flowing time, but the individual voices no longer merge (as in my earlier music), rather they can be heard individually in their overlapping and interweaving . The voices become individual melodies, with their own style, their own tempo, rhythm and interval structure. If you listen to the work for the first time, it appears as a chaos of discrepant melodies - but if you know the music better, the internal connections become tangible, the hidden harmonic skeleton of the form becomes tangible. (Gyorgy Ligeti)<br> <br> This facsimile edition offers an impressive access to the composer's work. A study score in modern notation is also available.
$22.99
20.93 €
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Orchestre
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Gyorgy Ligeti (1923-2006)
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Melodies
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Schott Music - Digital
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SheetMusicPlus
William Fitzpatrick: Melodies for the Young Violinist - violin
This is an exclusive transcription for violin of EASY/MEDIUM skill level from the original…
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This is an exclusive transcription for violin of EASY/MEDIUM skill level from the original composition by William Fitzpatrick. This title is available as instant sheet music download. Contents: violin melodies,978-1-934250-06-8 / classical,traditional,instructional
$14.99
13.65 €
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William Fitzpatrick
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Virtualsheetmusic
Joy of Music - Discoveries from the Schott Archives
Violoncelle, Piano
Cello and piano - intermediate to advanced - Digital Download Virtuoso and Entertaini…
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Cello and piano - intermediate to advanced - Digital Download Virtuoso and Entertaining Pieces for Cello and Piano. Composed by Various. Edited by Beverley Ellis and Rainer Mohrs. This edition: Sheet music. Virtuoso instrumental music, Violoncello, Cello, Anthology. Copyright 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 161 pages. Schott Music - Digital #Q53332. Published by Schott Music - Digital
English - German.<br> <br> To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced cellists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.English - German.<br> <br> To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced cellists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.
$23.99
21.84 €
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Violoncelle, Piano
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Various
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Co
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Joy of Music - Discoveries from the Schott Archives
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Schott Music - Digital
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SheetMusicPlus
Joy of Music - Discoveries from the Schott Archives
Clarinette et Piano
Clarinet and piano - intermediate to advanced - Digital Download Virtuoso and Enterta…
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Clarinet and piano - intermediate to advanced - Digital Download Virtuoso and Entertaining Pieces for Clarinet and Piano. Composed by Various. Edited by Rainer Mohrs and Rudolf Mauz. This edition: Sheet music. Virtuoso instrumental music, Clarinet, Anthology. Copyright 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 176 pages. Schott Music - Digital #Q53330. Published by Schott Music - Digital
German - Danish.<br> <br> To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced clarinetists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.German - Danish.<br> <br> To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced clarinetists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.
$23.99
21.84 €
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Clarinette et Piano
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Various
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Co
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Joy of Music - Discoveries from the Schott Archives
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Schott Music - Digital
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SheetMusicPlus
Flute Quartet sheet music: Levanta Poeira (score & parts)
Quatuor de Flûtes : 4 flûtes
Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509398
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Woodwind Ensemble,Woodwind Quartet Flute - Level 3 - Digital Download SKU: A0.1509398 By Francesco Leone. By Zequinha de Abreu. Arranged by Francesco Leone. 20th Century,Latin. 24 pages. Glissato Edizioni Musicali #1084637. Published by Glissato Edizioni Musicali (A0.1509398). Dive into the heart of Brazilian Chorinho with Levanta Poeira, an exuberant piece by Zequinha de Abreu, the illustrious composer behind the iconic Tico Tico. This vibrant composition has been masterfully arranged for Flute Quartet by Francesco Leone, targeting intermediate-level flutists who wish to explore the rhythmic complexities and melodic richness of Brazilian music.This ebook provides a complete package, including the score and parts for C Flutes 1-4, meticulously arranged to capture the essence of Chorinho's spirited melodies and harmonies. Each part is designed to challenge and engage the musicians, encouraging a deep dive into the nuances of Brazilian musical tradition while ensuring an enjoyable and rewarding ensemble experience.An audio demo of this engaging arrangement is available on www.glissato.it, offering a glimpse into the lively and captivating performance that awaits. This resource is invaluable for understanding the intended articulation, dynamics, and tempo, serving as an excellent learning tool for ensembles preparing to bring Levanta Poeira to the stage.Additionally, this edition is enhanced with informative resources available in multiple languages: English, French, German, Spanish, Italian, and Portuguese. These materials offer insights into the history of Chorinho, the legacy of Zequinha de Abreu, and the cultural significance of Levanta Poeira, enriching the musician's connection to the piece. Whether you are a performer, a music educator, or a fan of Brazilian music, these resources provide a comprehensive understanding of the genre, the composer, and the arrangement itself.Levanta Poeira for Flute Quartet by Francesco Leone is not just sheet music; it's an invitation to journey through the captivating world of Chorinho, bringing the lively streets of Brazil to your concert hall. Embrace this opportunity to expand your musical horizons with the enchanting rhythms and melodies of one of Brazil's most cherished musical traditions.- Querflöten-Noten, partitions pour flûte, partituras para flauta, partituras para flauta, spartiti per flauto, flüt notaları, nuty na flet, noter for fløyte, noter för flöjt, 플루트 악보, フルートの楽譜 -.
$14.00
12.75 €
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Quatuor de Flûtes : 4 flûtes
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Francesco Leone
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Francesco Leone
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Flute Quartet sheet music: Levanta Poeira
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Glissato Edizioni Musicali
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SheetMusicPlus
Woodwind Quintet sheet music: Sururu na Cidade (score & parts)
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: A0.1512486 By Francesco Leone. By Zequinha de Abreu. Arranged by Francesco Leone. Latin. 22 pages. Glissato Edizioni Musicali #1087505. Published by Glissato Edizioni Musicali (A0.1512486). Discover the lively rhythms and captivating melodies of Brazilian Chorinho with Sururu na Cidade, a brilliant composition by Zequinha de Abreu, the celebrated composer behind the iconic Tico Tico. This piece has been artfully arranged for Woodwind Quintet by Francesco Leone, targeting musicians of an intermediate skill level. The arrangement carefully balances the unique timbres of each instrument, offering an engaging ensemble experience that faithfully represents the spirit and charm of Chorinho music.This comprehensive ebook package provides the full score and a set of seven parts, including Flute, Oboe, B♭ Clarinet, French Horn in F, and Bassoon, ensuring a rich and dynamic range of sounds. To accommodate varying ensemble configurations, alternative parts for E♭ Horn and B♭ Bass Clarinet (as a substitute for Bassoon) are also included, offering flexibility and adaptability to groups of different compositions.Enhance your preparation and performance with an audio demo available at www.glissato.it. This valuable resource allows musicians to hear a professional rendition of the arrangement, serving as an inspiration and guide for tempo, dynamics, and overall interpretation.In addition to the musical scores, this edition is augmented with informative resources in multiple languages: English, French, German, Spanish, Italian, and Portuguese. These materials delve into the rich history of Chorinho music, provide insights into Zequinha de Abreu's life and works, and offer contextual information about Sururu na Cidade, enriching the musician's understanding and connection to the piece.Whether you're a woodwind musician looking to explore the vibrant world of Brazilian music, a music teacher in search of compelling educational content, or simply a fan of Chorinho, this arrangement of Sururu na Cidade for Woodwind Quintet by Francesco Leone is a perfect addition to your musical library. Engage with the joyous and intricate world of Chorinho, and let this arrangement transport you and your audience to the heart of Brazil's musical heritage.- Holzblasinstrumente-Noten, partitions pour instruments à vent, partituras para instrumentos de viento madera, partituras para instrumentos de sopro de madeira, spartiti per strumenti a fiato, üflemeli çalgılar için notalar, nuty na instrumenty dęte drewniane, noter for treblåseinstrumenter, noter för träblåsinstrument, 목관악기 악보, 木管楽器の楽譜 -.
$15.99
14.56 €
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Francesco Leone
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Francesco Leone
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Woodwind Quintet sheet music: Sururu na Cidade
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Glissato Edizioni Musicali
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SheetMusicPlus
A Gershwin Portrait! The Music of George and Ira Gershwin
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0003559 A Gershwin Portrait! The Music o…
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Chorus - Digital Download SKU: AX.00-PO-0003559 A Gershwin Portrait! The Music of George and Ira Gershwin - SATB. Composed by George Gershwin and Ira Gershwin. Arranged by Mac Huff. Choral. 16 pages. Alfred Music - Digital Sheet Music #00-PO-0003559. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0003559). ISBN 9780769259901. UPC: 029156098013.Music must reflect the thoughts and aspirations of the people and the time. My people are American. My time is today. This quote from George Gershwin sets the tone for this spectacular 25-minute Feature Medley showcasing the amazing artistic range of George and Ira Gershwin. The six flexible sections of timeless melodies highlight not only their popular songs, but also music for the Broadway and concert stage, the jazz musician and even an opera (Porgy and Bess).Mac Huff's spectacular Gershwin extravaganzahas been designed for all ages with accompaniment options of full combo, rhythm section, piano only or the dynamic ShowTrax CD. A magnificent tribute to two American musical masters!
$8.99
8.19 €
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Chorale SATB
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George Gershwin and Ira Gershwin
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Mac Huff
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A Gershwin Portrait! The Music of George and Ira Gershwin
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Mastering Melodies: Favorite Operas
Piano seul
Piano - Level 2 - Digital Download SKU: LX.70-1281H Simplified Keyboard Selectio…
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Piano - Level 2 - Digital Download SKU: LX.70-1281H Simplified Keyboard Selections Late Beg/Early Int. Arranged by Janet Vogt Zeitler. Piano Collection. Mastering Melodies Series. 16 pages. Heritage Music Press #e70/1281H. Published by Heritage Music Press (LX.70-1281H). UPC: 000308045161.The moment a familiar classical melody falls into the fingers of a beginning pianist is a moment of musical joy for both performer and listener. Mastering Melodies offers such moments of discovery and accomplishment with a collection of repertoire, which is both accessible and delightfully arranged for the late beginner/early intermediate piano student. These melodies set the stage for beginning musicianship - playing with expression, building increasing technical skills and inspiring a nearly love and appreciation of the classics of musical literature adopted from symphonic, chamber, operatic and keyboard repertoire. The fingers and ears alike will begin to know Beethoven, Bach, Mozart and other great composers, who each had their own unique and extraordinary way of shaping the melodies of their masterworks. These carefully edited and arranged selections will provide a lasting foundation for building repertoire and inspire a natural enthusiasm in each student.
$3.95
3.6 €
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Piano seul
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Janet Vogt Zeitler
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Mastering Melodies: Favorite Operas
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Heritage Music Press
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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
21.84 €
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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
Peixun : Four Piano Pieces based on Cantonese Melodies, Opus 5 - n° 1 Selling Sundry Goods
Piano seul
Téléchargez la partition Piano Four Piano Pieces based on Cantonese Melodies…
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Téléchargez la partition Piano Four Piano Pieces based on Cantonese Melodies, Opus 5 - n° 1 Selling Sundry Goods de Peixun. Partition pour Piano seul -- Classique
3.99 €
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Piano seul
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Peixun
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Four Piano Pieces based on Can
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Tomplay
Beautiful Melodies from Around the World - Music for Two Violins Selected Cello Parts
Violin - Beginning; Intermediate; Advanced - Digital Download SKU: M0.30859EB Weddi…
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Violin - Beginning; Intermediate; Advanced - Digital Download SKU: M0.30859EB Wedding. World Music. E-book. 69 pages. Mel Bay Publications - Digital Sheet Music #30859EB. Published by Mel Bay Publications - Digital Sheet Music (M0.30859EB). ISBN 9781513455310. 8.75x11.75 inches.Imagine a campfire! Envision sitting around the bright flames with your friends and family singing songs out in the great expanse. Imagine that those melodies you sing stir up joy, hope, and belief in the great wonders of the world. Melodies have connected different kinds of people for many, many years. Music brings us closer, and music makes any occasion more festive and memorable. This book was written to promote the love of old folk melodies, provide processional music for special celebrations, and to include players of all levels. Music educators will find that there are many possibilities and combinations for practice and performance. Includes a 16-page section of twelve selected pieces for an optional cello part.It is my great hope that music students, families, and educators will all enjoy this very special collection of Beautiful Melodies from Around the World.Â
$17.99
16.38 €
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Intermediate
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Beautiful Melodies from Around the World - Music for Two Violins Selected Cello Parts
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Solos for Soprano Recorder-Collection 7 Melodies by Women Composers
Flûte à bec Soprano
Recorder (soprano) - Beginning - Digital Download SKU: M0.21675EB Melodies by Wo…
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Recorder (soprano) - Beginning - Digital Download SKU: M0.21675EB Melodies by Women Composers. Composed by Clark Kimberling. Solos, Duets and Ensembles, Classics. Classic. E-book. 53 pages. Mel Bay Publications - Digital Sheet Music #21675EB. Published by Mel Bay Publications - Digital Sheet Music (M0.21675EB). ISBN 9781619111004. 8.75x11.75 inches.The solos in this book are all based on melodies composed by women. They are especially well suited to performance on the soprano recorder, and they provide excellent material for developing skills in rapid tonguing, extended breath-control, phrasing, and the playing of high notes. Although arranged primarily for soprano recorder, most of these solos can be played on tenor or alto recorder. (On the alto, use 'C' fingerings.) Three of the world's most famous melodies are here: Mildred Hill's 'Happy Birthday' (originally 'Good Morning to You'), Euphemia Allens- 'Chopsticks' (originally 'The Celebrated Chop Waltz'), and Effie Corckett's 'Rock-a-Bye, Baby.' Less well known delights include Faustina Hodges- 'Because I'm Twenty-Five' and Florence Percy's 'Fly Away,' as well as Amanda Aldridge's 'Dance of the Warriors'-and the list goes on and on. A separate flute edition is available.
$12.99
11.83 €
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Flûte à bec Soprano
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Clark Kimberling
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Solos for Soprano Recorder-Collection 7 Melodies by Women Composers
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Brass Quintet sheet music: Sururu na Cidade (score & parts)
Brass Ensemble,Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Down…
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Brass Ensemble,Brass Quintet Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1513675 By Francesco Leone. By Zequinha de Abreu. Arranged by Francesco Leone. Latin. 21 pages. Glissato Edizioni Musicali #1088435. Published by Glissato Edizioni Musicali (A0.1513675). Dive into the heart of Brazilian Chorinho with Sururu na Cidade, a captivating composition by Zequinha de Abreu, the acclaimed creator of the iconic Tico Tico. This piece has been thoughtfully arranged for Brass Quintet/Ensemble by Francesco Leone, offering an intermediate-level challenge that brings the spirit of Brazil to life through the vibrant sounds of brass instruments.This ebook provides not only the full score but also a comprehensive set of parts for a brass quintet ensemble, including B♭ Trumpets 1 and 2, French Horn in F, Trombone, and Tuba. Recognizing the diverse needs of musicians and ensembles, the arrangement also includes alternative parts for E♭ Horn, B♭ Tenor Horn (as an alternative to the French Horn), Trombone in treble clef, and E♭ and B♭ Tuba in treble clef, ensuring versatility and adaptability for various performance settings.To further enhance your experience, an audio demo of this enchanting arrangement is available on www.glissato.it, allowing you to hear the magic of Sururu na Cidade before bringing it to life with your ensemble. This feature serves as a valuable tool for understanding the arrangement's dynamics, tempo, and overall feel.Moreover, this arrangement is enriched with informative resources available in multiple languages: English, French, German, Spanish, Italian, and Portuguese. These materials delve into the history of Chorinho, explore the legacy of Zequinha de Abreu, and provide context for Sururu na Cidade, offering musicians a deeper connection to the piece and its cultural significance.Whether you're performing in a concert, teaching a music class, or simply exploring the rich world of Brazilian music, this arrangement of Sururu na Cidade for Brass Quintet/Ensemble presents an extraordinary opportunity to engage with the vibrant rhythms and melodies of Chorinho. With its meticulously prepared score and parts, along with the wealth of accompanying resources, this ebook is an indispensable asset for any brass musician eager to expand their repertoire with the joyful and spirited sounds of Brazil.- brass instruments, Blechblasinstrumente, instruments à vent en cuivre, instrumentos de viento metal, instrumentos de sopro de metal, ottoni, bakır nefesli çalgılar, instrumenty dęte blaszane, messingblåseinstrumenter, bleckblåsinstrumen -.
$15.99
14.56 €
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Francesco Leone
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Francesco Leone
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Brass Quintet sheet music: Sururu na Cidade
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Glissato Edizioni Musicali
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SheetMusicPlus
Guitar Music - Melodies for Beginners
Guitare
Solo Guitar - Level 1 - Digital Download SKU: A0.921998 Composed by Numerous. Arran…
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Solo Guitar - Level 1 - Digital Download SKU: A0.921998 Composed by Numerous. Arranged by Robert Styles. Children,Folk,Pop,Standards,World. Individual part. 68 pages. Robert Styles #3562181. Published by Robert Styles (A0.921998). This collection of music, which appears in four volumes, is designed to allow guitar players the opportunity to enjoy music of different cultures and styles. It includes Renaissance, Baroque, Classical, Romantic, Contemporary, Blues, Rock, Ragtime, Spanish, Flamenco, Brazilian, Eastern, Country and Western and Traditional Folk Music.The music has been written and arranged to be played using the classical guitar technique, often referred to as ‘finger-picking’, and has been ordered according to degree of difficulty. These books contain solo, duet and ensemble guitar pieces allowing players to develop and enjoy both solo and ensemble performance skills. ‘Melodies for Beginners’ is, as the title suggests, a collection of melodies for beginners (step one to grade one). ‘Book One’ is of elementary to intermediate standard (grade one to grade four). ‘Book Two’ is of intermediate to a more advanced standard (grade four to proficiency).I have been careful to make sure the music ‘Sits Comfortably Under the Fingers’. To this end suggested left-hand fingering has been included. Other interpretation markings have, in most cases, been omitted. Players are encouraged to use their own initiative and ideas based on the ‘feel’ of the music.Happy music making.Robert Styles
$9.95
9.06 €
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Guitare
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Numerous
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Robert Styles
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Guitar Music - Melodies for Beginners
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Robert Styles
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SheetMusicPlus
Balkan Melodies for Classical Guitar
Guitare
World Music. Baltic. E-book. 37 pages. Mel Bay Publications - Digital Sheet Music #3…
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World Music. Baltic. E-book. 37 pages. Mel Bay Publications - Digital Sheet Music #30883EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459424. 8.75x11.75 inches.<br> <br> An exciting collection of Balkan music featuring songs from Bosnia, Croatia, Greece, Macedonia, Romania and Serbia. Enjoy captivating sounds and compelling rhythms on this exhilarating musical journey through the Balkan Peninsula. Fully fingered for an enjoyable sight-reading experience.ISBN 9781513459424. 8.75x11.75 inches.<br> <br> An exciting collection of Balkan music featuring songs from Bosnia, Croatia, Greece, Macedonia, Romania and Serbia. Enjoy captivating sounds and compelling rhythms on this exhilarating musical journey through the Balkan Peninsula. Fully fingered for an enjoyable sight-reading experience.
$12.99
11.83 €
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Guitare
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Balkan Melodies for Classical Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Turkish Dance Melodies
5 saxophones (SAATBar) - intermediate - Digital Download SKU: S9.Q42392 Traditio…
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5 saxophones (SAATBar) - intermediate - Digital Download SKU: S9.Q42392 Traditional. This edition: score and parts. Downloadable, score and parts. Advance Music GmbH - Digital #Q42392. Published by Advance Music GmbH - Digital (S9.Q42392). Arranged by Albert Loritz, 'Turkish Dance Melodies' features five saxophones having a festive Oriental party. Playing interwoven melodies and sounds while imitating Turkish tunes, they take both performers and audience to the Bosporus, Black Sea and into the mountains of Anatolia.
$23.99
21.84 €
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Turkish Dance Melodies
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Advance Music GmbH - Digital
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SheetMusicPlus
Solos for Flute, Collection 4: American Melodies to 1865
Flûte traversière
Flute - Beginning-Intermediate - Digital Download SKU: M0.22011EB Composed by Clark…
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Flute - Beginning-Intermediate - Digital Download SKU: M0.22011EB Composed by Clark Kimberling. Flute, Fife and Oboe, Solos. Folk. E-book. Mel Bay Publications - Digital Sheet Music #22011EB. Published by Mel Bay Publications - Digital Sheet Music (M0.22011EB). ISBN 9781619111547. 8.75x11.75 inches.These 45 early-American melodies work especially well on the modern flute. They provide excellent material for developing skills in rapid tonguing, phrasing, and extended breath 8 controlMany of these melodies have roots in the Old World. For example, La Cachucha, La Cracovienne, and La Smolenska were brought to America by the amazing ballerina Fanny Elssler. (For her White House performance, Congress adjourned early!) A separate recorder editionis available.
$12.99
11.83 €
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Flûte traversière
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Clark Kimberling
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Solos for Flute, Collection 4: American Melodies to 1865
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Saints and Fireworks: The Music of Gordon Mizzi, Volume Two
Guitare
Guitar (all) - Intermediate - Digital Download SKU: M0.22170EB Composed by Gordon M…
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Guitar (all) - Intermediate - Digital Download SKU: M0.22170EB Composed by Gordon Mizzi. Adult Contemporary. Classic. E-book. Mel Bay Publications - Digital Sheet Music #22170EB. Published by Mel Bay Publications - Digital Sheet Music (M0.22170EB). ISBN 9781619112094. 8.75x11.75 inches.This collection of the work of the Maltese composer, Gordon Mizzi, for solo guitar is being made available to the public for the first time. Saints and Fireworks, The Music of Gordon Mizzi Volume Two is the second of two albums of Gordon Mizzi's music, which are available from Mel Bay Publications. This album takes its title from the  CD, Gordon Mizzi, Saints and Fireworks that has been recorded by Carlos Bonell, one of today's most celebrated guitarists and which is available from Spearhead Music. The individual track recordings are also available as downloads from itunes, amazon.com and other sites.This album contains a diverse collection of original works as well as transcriptions of Renaissance and Maltese folk music by Gordon Mizzi. The Branles de Malte by Jean d'Estr+¬e were originally composed by the French Knights of St. John in Malta in 1551 for the Dauphin of France. Gordon Mizzi has made guitar transcriptions of these five dances and this is the first time that they are being published. The Branles de Malte by Adrian Le Roy are also included. There are a number of original compositions. Saints and Fireworks, a piece in two movements, vividly represents Malta's village festas. Island Scenes are six musical portraits of towns and villages dotting the landscape of Malta.They include Valletta- Barrakka Gardens, San Giljan-After the Feast, Mdina- Citt+á Notabile, the dreamy Comino-The Blue Lagoon, Sliema- The Tower, and the pulsatingly brash Paceville -Sin City. Three Love Poems : Hula, Lahaina and Hana are influences from Hawaii. There are also two cradle songs Child Don't Cry and Ninna Nanna as well as folk inspired melodies such as Night Crossing and il- Maltija. The guitarist will find a veritable pot pourri of scents and sounds in this album.
$17.99
16.38 €
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Guitare
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Gordon Mizzi
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Saints and Fireworks: The Music of Gordon Mizzi, Volume Two
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
The Gold Digger's Song (from "Merrie Melodies & Looney Tunes")
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0012995 The Gold Digger's So…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0012995 The Gold Digger's Song. Composed by Harry Warren. Nostalgia. 4 pages. Alfred Music - Digital Sheet Music #00-PS-0012995. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0012995). ISBN 9780739071205. UPC: 038081396323. Al Dubin.The Looney Tunes Songbook features music used by Carl Stalling in the scores for Warner Brothers' beloved cartoons from the 1930s through the early '60s. Included are the familiar theme songs, tunes associated with various characters, Warner Brothers pop songs used as background music, and the wacky melodies of Raymond Scott. Titles: Merrily We Roll Along * The Merry-Go-Round Broke Down * Road Runner * This Is It! * What's Up, Doc? * Dinner Music for a Pack of Hungry Cannibals * In an 18th Century Drawing Room * Powerhouse * Reckless Night on Board an Ocean Liner * The Toy Trumpet * Ain't She Sweet * A Cup of Coffee, a Sandwich, and You * The Gold Digger's Song (We're in the Money) * Hooray for Hollywood * I Love to Sing-a * I'm Forever Blowing Bubbles * The Lady in Red * A Rainy Night in Rio * You Must Have Been a Beautiful Baby * Hello, Ma Baby * I'm Just Wild About Harry * The Michigan Rag.
$3.99
3.63 €
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Piano, Voix et Guitare
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Harry Warren
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The Gold Digger's Song
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
You Must Have Been a Beautiful Baby (from "Merrie Melodies & Looney Tunes")
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0012996 You Must Have Been a…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0012996 You Must Have Been a Beautiful Baby. Composed by Harry Warren. Nostalgia. 3 pages. Alfred Music - Digital Sheet Music #00-PS-0012996. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0012996). ISBN 9780739071205. UPC: 038081396323. Johnny Mercer.The Looney Tunes Songbook features music used by Carl Stalling in the scores for Warner Brothers' beloved cartoons from the 1930s through the early '60s. Included are the familiar theme songs, tunes associated with various characters, Warner Brothers pop songs used as background music, and the wacky melodies of Raymond Scott. Titles: Merrily We Roll Along * The Merry-Go-Round Broke Down * Road Runner * This Is It! * What's Up, Doc? * Dinner Music for a Pack of Hungry Cannibals * In an 18th Century Drawing Room * Powerhouse * Reckless Night on Board an Ocean Liner * The Toy Trumpet * Ain't She Sweet * A Cup of Coffee, a Sandwich, and You * The Gold Digger's Song (We're in the Money) * Hooray for Hollywood * I Love to Sing-a * I'm Forever Blowing Bubbles * The Lady in Red * A Rainy Night in Rio * You Must Have Been a Beautiful Baby * Hello, Ma Baby * I'm Just Wild About Harry * The Michigan Rag.
$3.99
3.63 €
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Piano, Voix et Guitare
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Harry Warren
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You Must Have Been a Beautiful Baby
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Two Scandinavian Melodies: 1st F Horn
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0016407_H1 1st F Horn. Compose…
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Concert Band - Digital Download SKU: AX.00-PC-0016407_H1 1st F Horn. Composed by Todd Stalter. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016407_H1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016407_H1). UPC: 038081482477.These two delightful Scandinavian melodies offer a glimpse into the folk music of a region that is not prominently featured in band literature. Teaching opportunities abound for sensitive musicianship and stylistic nuance, and the romantic color harmonies provide a rich texture that enhances the depth of the sound of the concert band. (2:40)Concert/Contest; Festival.
$3.00
2.73 €
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Orchestre d'harmonie
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Todd Stalter
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Festival.
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Two Scandinavian Melodies: 1st F Horn
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Two Scandinavian Melodies: B-flat Bass Clarinet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0016407_BC B-flat Bass Clarinet
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Concert Band - Digital Download SKU: AX.00-PC-0016407_BC B-flat Bass Clarinet. Composed by Todd Stalter. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016407_BC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016407_BC). UPC: 038081482477.These two delightful Scandinavian melodies offer a glimpse into the folk music of a region that is not prominently featured in band literature. Teaching opportunities abound for sensitive musicianship and stylistic nuance, and the romantic color harmonies provide a rich texture that enhances the depth of the sound of the concert band. (2:40)Concert/Contest; Festival.
$3.00
2.73 €
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Orchestre d'harmonie
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Todd Stalter
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Festival.
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Two Scandinavian Melodies: B-flat Bass Clarinet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Two Scandinavian Melodies: Baritone B.C.
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0016407_BBC1 Baritone B.C.. Co…
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Concert Band - Digital Download SKU: AX.00-PC-0016407_BBC1 Baritone B.C.. Composed by Todd Stalter. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016407_BBC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016407_BBC1). UPC: 038081482477.These two delightful Scandinavian melodies offer a glimpse into the folk music of a region that is not prominently featured in band literature. Teaching opportunities abound for sensitive musicianship and stylistic nuance, and the romantic color harmonies provide a rich texture that enhances the depth of the sound of the concert band. (2:40)Concert/Contest; Festival.
$3.00
2.73 €
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Orchestre d'harmonie
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Todd Stalter
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Festival.
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Two Scandinavian Melodies: Baritone B.C.
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Two Scandinavian Melodies: 2nd B-flat Trumpet
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0016407_T2 2nd B-flat Trumpet.…
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Concert Band - Digital Download SKU: AX.00-PC-0016407_T2 2nd B-flat Trumpet. Composed by Todd Stalter. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016407_T2. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016407_T2). UPC: 038081482477.These two delightful Scandinavian melodies offer a glimpse into the folk music of a region that is not prominently featured in band literature. Teaching opportunities abound for sensitive musicianship and stylistic nuance, and the romantic color harmonies provide a rich texture that enhances the depth of the sound of the concert band. (2:40)Concert/Contest; Festival.
$3.00
2.73 €
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Orchestre d'harmonie
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Todd Stalter
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Festival.
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Two Scandinavian Melodies: 2nd B-flat Trumpet
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Two Scandinavian Melodies: E-flat Alto Saxophone
Orchestre d'harmonie
Concert Band - Digital Download SKU: AX.00-PC-0016407_AX1 E-flat Alto Saxophone
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Concert Band - Digital Download SKU: AX.00-PC-0016407_AX1 E-flat Alto Saxophone. Composed by Todd Stalter. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016407_AX1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016407_AX1). UPC: 038081482477.These two delightful Scandinavian melodies offer a glimpse into the folk music of a region that is not prominently featured in band literature. Teaching opportunities abound for sensitive musicianship and stylistic nuance, and the romantic color harmonies provide a rich texture that enhances the depth of the sound of the concert band. (2:40)Concert/Contest; Festival.
$3.00
2.73 €
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Orchestre d'harmonie
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Todd Stalter
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Festival.
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Two Scandinavian Melodies: E-flat Alto Saxophone
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
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