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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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Vous avez sélectionné:
Second Trio for Clarinet, Viola, and Piano
Partitions à imprimer
15 partitions trouvées
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1
Mini Minor, Jazz Piece for String Trio
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.115…
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String Ensemble,String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.1157674 Composed by David McKeown. Blues,Contemporary,Instructional,Jazz. Score and parts. 8 pages. David McKeown #758019. Published by David McKeown (A0.1157674). Mini Minor is a fun and original piece written in a jazz style by David McKeown for String trio. The pdf file contains the score, separate parts for Violin, Viola and Cello, and also alternative parts for a second Violin and Viola. There are chord symbols on the score for additional accompaniment on piano, bass or guitar. Mini Minor is suitable for players at an early intermediate level and above. The key and range are accessible and there are some simple syncopated rhythms and accidentals. With a playing-time of around one minute and 15 seconds, Mini Minor is a perfect upbeat addition to any performance program, formal or informal. Click on the YouTube link to see and hear the clarinet version of this arrangement. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203 Â
$5.99
5.35 €
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Trio à Cordes: violon, alto, violoncelle
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David McKeown
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Mini Minor, Jazz Piece for String Trio
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David McKeown
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SheetMusicPlus
Swing Thing, a jazz piece for String Trio
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.115…
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String Ensemble,String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.1158835 Composed by David McKeown. Contemporary,Instructional,Jazz. Score and parts. 8 pages. David McKeown #759085. Published by David McKeown (A0.1158835). Swing Thing is a fun and original piece written in a jazz style by David McKeown for String trio. The pdf file contains the score, separate parts for Violin, Viola and Cello, and also alternative parts for a second Violin and Viola. There are chord symbols on the score for additional accompaniment on piano, bass or guitar. Swing Thing is suitable for players at an early intermediate level and above. The key and range are accessible and there are some simple syncopated rhythms and accidentals. With a playing-time of around one and a half minutes, Swing Thing is a perfect upbeat addition to any performance program, formal or informal. Click on the YouTube link to see and hear the clarinet version of this arrangement. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$5.99
5.35 €
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Trio à Cordes: violon, alto, violoncelle
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David McKeown
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Swing Thing, a jazz piece for String Trio
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David McKeown
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SheetMusicPlus
Jazz Train, a Jazz Piece for String Trio
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.116…
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String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1168184 Composed by David McKeown. Blues,Contemporary,Instructional,Jazz. Score and parts. 9 pages. David McKeown #768538. Published by David McKeown (A0.1168184). Jazz Train is a fun and original piece written in a Jazz style by David McKeown for String trio. The pdf file contains the score, separate parts for Violin, Viola and Cello, and also alternative parts for a second Violin and Viola. There are chord symbols on the score for additional accompaniment on piano, bass or guitar.Jazz Train is suitable for players at an intermediate level and above. The key and range are accessible and there are some simple syncopated rhythms and accidentals. With a playing-time of around two and a half minutes, Jazz Train is a perfect upbeat addition to any performance program, formal or informal.Click on the YouTube link to see and hear the clarinet version of this arrangement. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203.
$5.99
5.35 €
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Trio à Cordes: violon, alto, violoncelle
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David McKeown
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Jazz Train, a Jazz Piece for String Trio
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David McKeown
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SheetMusicPlus
Pet Rock, a Rock Piece for String Trio
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.116…
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String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1163798 Composed by David McKeown. Contemporary,Instructional,Jazz,Rock. Score and parts. 9 pages. David McKeown #764148. Published by David McKeown (A0.1163798). Pet Rock is a fun and original piece written in a Rock style by David McKeown for String Trio. The pdf file contains the score, separate parts for Violin, Viola and Cello, and also alternative parts for a second Violin and Viola. There are chord symbols on the score for additional accompaniment on piano, bass or guitar.Pet Rock is suitable for players at an intermediate level and above. The key and range are accessible and there are some simple syncopated rhythms and accidentals. With a playing-time of around one and a half minutes, Pet Rock is a perfect upbeat addition to any performance program, formal or informal.Click on the YouTube link to see and hear the clarinet version of this arrangement. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203.
$5.99
5.35 €
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Trio à Cordes: violon, alto, violoncelle
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David McKeown
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Pet Rock, a Rock Piece for String Trio
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David McKeown
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SheetMusicPlus
Red Rag, a jazz piece for String Trio
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.116…
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String Ensemble,String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1161513 Composed by David McKeown. Contemporary,Instructional,Jazz,Ragtime. Score and parts. 9 pages. David McKeown #761868. Published by David McKeown (A0.1161513). Red Rag is a fun and original piece written in a Ragtime style by David McKeown for String trio. The pdf file contains the score, separate parts for Violin, Viola and Cello, and also alternative parts for a second Violin and Viola. There are chord symbols on the score for additional accompaniment on piano, bass or guitar. Red Rag is suitable for players at an intermediate level and above. The key and range are accessible and there are some simple syncopated rhythms and accidentals. With a playing-time of around two minutes, Red Rag is a perfect upbeat addition to any performance program, formal or informal. Click on the YouTube link to see and hear the clarinet version of this arrangement. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$5.99
5.35 €
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Trio à Cordes: violon, alto, violoncelle
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David McKeown
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Red Rag, a jazz piece for String Trio
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David McKeown
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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)
$23.99
21.43 €
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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
Second Trio for Clarinet, Viola, and Piano (2016)
Composed by Steven Schwarz. 21st Century, Contemporary Classical. Score, Set of Parts. 98 …
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Composed by Steven Schwarz. 21st Century, Contemporary Classical. Score, Set of Parts. 98 pages. Published by Steven Thomas Schwarz (S0.147709). - Score,Set of Parts - 21st Century,Contemporary Classical - Steven Thomas Schwarz
$7.99
7.14 €
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Steven Schwarz
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Second Trio for Clarinet, Viola, and Piano
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Steven Thomas Schwarz
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SheetMusicPlus
Trio Miniatures
Violin (clarinet), cello (viola) and piano - advanced to difficult - Digital Download S…
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Violin (clarinet), cello (viola) and piano - advanced to difficult - Digital Download SKU: S9.Q50464 From op. 18 and op. 24. Composed by Paul Juon. This edition: score and parts. Downloadable, Score and parts. Duration 10 minutes, 30 seconds. Musikverlag Robert Lienau - Digital #Q50464. Published by Musikverlag Robert Lienau - Digital (S9.Q50464). German • English.The Trio Miniatures are among the most frequently played chamber music works by the Russian-Swiss composer Paul Juon (1872-1940). Originally written for piano, the four pieces Rêverie (after op 18 no 3), Humoresque (after op 18 no 7), Elegy (after op 18 no 6) and Danse fantastique (op. 24 No. 2 after) give a wonderful insight into Juons sound poetry, his art of storytelling in music, his joy in dancing and rhythmic surprises. The carefully revised edition contains all the possible changes of instrumentation and includes the clarinet in the score for the first time. Numerous differences between the score and parts were removed, earlier editorial additions revealed and mistakes corrected. A detailed audit report gives information about it.
$16.99
15.18 €
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Paul Juon
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Trio Miniatures
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Musikverlag Robert Lienau - Digital
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SheetMusicPlus
Denmark: The Two National Anthems
Orchestre d'harmonie
Large Ensemble - Level 2 - Digital Download SKU: A0.522130 Composed by Ditlev Ludvi…
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Large Ensemble - Level 2 - Digital Download SKU: A0.522130 Composed by Ditlev Ludvig Rogert (1742-1813) and Hans Ernst Krøyer (1798 -1879). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 37 pages. Colin Kirkpatrick Publications #3428555. Published by Colin Kirkpatrick Publications (A0.522130). Denmark has two national anthems. The first, Der er et yndigt land (There is a lovely land) is the civil national anthem and the most frequently performed. When it was first published in 1819, the anthem had twelve verses but today it has been significantly shortened. The dotted rhythm in measure 15 (in Parts 1 and 2) is sometimes played as two equal eighth notes (quavers). The second anthem, Kong Christian stod ved højen mast (King Christian stood by the lofty mast) has equal status but is mainly used for royal and military occasions. At such times, it is either performed alone or the two anthems are played together. Known simply as Kong Christian it is traditionally sung in Denmark immediately after midnight every New Year's Eve. The audio sample contains the first, more popular anthem. These quick and easy national anthem arrangements are essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. Note that this anthem is virtually identical to the anthem of Finland. There is a minor difference in part of the melody and the repeat structure is different. This arrangement consists of a four-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Note the parts in Kong Kristian go a bit too low for flute and oboe, so Parts 1a or 2a should be used instead. Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (flute, oboe, violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below concert for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction.
$8.99
8.03 €
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Orchestre d'harmonie
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Ditlev Ludvig Rogert
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Colin Kirkpatrick
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Denmark: The Two National Anthems
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Colin Kirkpatrick Publications
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SheetMusicPlus
Mother Ginger from the Nutcracker for Woodwind Trio or Clarinet Trio
Large Ensemble Bassoon,Cello,Clarinet,Flute,Guitar,Oboe,Piano,Viola,Violin - Level 5 - Dig…
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Large Ensemble Bassoon,Cello,Clarinet,Flute,Guitar,Oboe,Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.530501 Composed by Peter Ilyich Tchaikovsky. Arranged by Daniel Kelley. Children,Christmas,Concert,Romantic Period,Standards. Score and parts. 27 pages. Last Resort Music Publishing #3624819. Published by Last Resort Music Publishing (A0.530501). An outstanding arrangement of Mother Ginger from Tschaikovsky's Nutcracker! Everyone adores the antics of Mother Ginger and her Bon Bons in the second act of the Nutcracker Full Set of Parts includes:Part 1 Flute or Oboe or Violin
$9.95
8.89 €
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Peter Ilyich Tchaikovsky
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Daniel Kelley
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Mother Ginger from the Nutcracker for Woodwind Trio or Clarinet Trio
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Last Resort Music Publishing
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SheetMusicPlus
Mother Ginger from the Nutcracker for String Trio (or Wind Trio or Mixed Trio)
Large Ensemble Bassoon,Cello,Clarinet,Flute,Guitar,Oboe,Piano,Viola,Violin - Level 5 - Dig…
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Large Ensemble Bassoon,Cello,Clarinet,Flute,Guitar,Oboe,Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.530499 Composed by Peter Ilyich Tchaikovsky. Arranged by Daniel Kelley. Children,Christmas,Concert,Romantic Period,Standards. Score and parts. 27 pages. Last Resort Music Publishing #3624811. Published by Last Resort Music Publishing (A0.530499). An outstanding arrangement of Mother Ginger from Tschaikovsky's Nutcracker! Everyone adores the antics of Mother Ginger and her Bon Bons in the second act of the Nutcracker Full Set of Parts includes:Part 1 Flute or Oboe or Violin
$9.95
8.89 €
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Peter Ilyich Tchaikovsky
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Daniel Kelley
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Mother Ginger from the Nutcracker for String Trio
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Last Resort Music Publishing
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SheetMusicPlus
Mother Ginger from the Nutcracker for Piano Trio (Violin, Cello & Piano) or Piano Quartet
Large Ensemble Bassoon,Cello,Clarinet,Flute,Guitar,Oboe,Piano,Viola,Violin - Level 5 - Dig…
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Large Ensemble Bassoon,Cello,Clarinet,Flute,Guitar,Oboe,Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.530500 Composed by Peter Ilyich Tchaikovsky. Arranged by Daniel Kelley. Children,Christmas,Concert,Romantic Period,Standards. Score and parts. 27 pages. Last Resort Music Publishing #3624815. Published by Last Resort Music Publishing (A0.530500). An outstanding arrangement of Mother Ginger from Tschaikovsky's Nutcracker! Everyone adores the antics of Mother Ginger and her Bon Bons in the second act of the Nutcracker Full Set of Parts includes:Part 1 Flute or Oboe or Violin
$9.95
8.89 €
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Peter Ilyich Tchaikovsky
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Daniel Kelley
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Mother Ginger from the Nutcracker for Piano Trio
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Last Resort Music Publishing
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SheetMusicPlus
Brahms: Serenade No. 2 in A Op.16 Mvt. II Scherzo - symphonic wind dectet
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.14887…
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.1488743 Composed by Johannes Brahms. Arranged by Ray Thompson. 19th Century,Romantic Period. 20 pages. RayThompsonMusic #1065594. Published by RayThompsonMusic (A0.1488743). The two Serenades, Op. 11 and 16, represent early efforts by Johannes Brahms to write orchestral music. They both date from after the 1856 death of Robert Schumann when Brahms was residing in Detmold and had access to an orchestra.Brahms had a goal of reaching Ludwig van Beethoven's level in writing symphonies, and worked long and hard on his first symphony, completing it only in 1876 when he was 43 years old. As preliminary steps in composing for orchestra, he chose early on to write some lighter orchestral pieces, these Serenades.The second serenade was first sent to Clara Schumann, who was delighted by it. It was written in 1859 and dedicated to her.The first public performance, reportedly for full orchestra (version lost?), was in Hamburg on 10 February 1860.Brahms himself reworked the piece for piano 4 hands in 1875.The same year he revisited the orchestral version, this time for a small chamber orchestra.The new scoring was for :piccolo,2 flutes,2 oboes,2 clarinets (in A for movements I, IV, V; in C for movement II; and in B flat for movement III),2 bassoons, 2 horns, violas, cellos, and double basses.(omitting violins, brass, and percussion)The five movements take approximately thirty minutes to perform.Allegro moderato (A major)Scherzo. Vivace (C major) – Trio (F major) (This arrangement)Adagio non troppo (A minor, ends in A major with a Picardy third)Quasi menuetto (D major) – Trio (F♯ minor)Rondo. Allegro (A major)Arranged wind dectet/decet/double wind quintet and bass.Horns in C basso ( as in original) but alternative Horn in F parts provided.My clarinet parts are for Bb clarinets.
$14.95
13.36 €
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Johannes Brahms
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Ray Thompson
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in C for movement II
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Brahms: Serenade No. 2 in A Op.16 Mvt. II Scherzo - symphonic wind dectet
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RayThompsonMusic
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SheetMusicPlus
America (My Country 'Tis of Thee)--SATB choir+soloist
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.786638 Composed by Samuel …
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.786638 Composed by Samuel Francis Smith, Henry Carey. Arranged by Beka Wilson. Christian,Folk,Holiday,Patriotic,Sacred. Octavo. 10 pages. Beka Wilson #6332689. Published by Beka Wilson (A0.786638). This beloved patriotic hymn is perfect for any patriotic function, or for a church offertory or prelude for Independence Day, Memorial Day, or Veterans Day. This arrangement features a male solo part for the second verse. Length: around 2.5 minutes10 pagesSolo versions of this arrangement are available for voice, piano, flute, oboe, clarinet, bassoon, alto sax, tenor sax, F horn, trumpet, trombone, violin, viola, and cello.Want this arrangement in a different key? Shoot me an email at bekmars10@gmail.com for a custom version of this arrangement that I can post on Sheet Music Plus for you.
$1.99
1.78 €
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Chorale SATB
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Samuel Francis Smith, Henry Carey
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Beka Wilson
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America
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Beka Wilson
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SheetMusicPlus
Va-Moose! - Mixed Ensemble
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Piano Accompaniment,Trumpet,Viola,…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Piano Accompaniment,Trumpet,Viola,Violin - Level 3 - Digital Download SKU: A0.722408 Composed by Anne L Christopherson GRSM ARCM. Concert,Holiday,Jazz,Patriotic. Score and parts. 39 pages. Music-Scores.com #6500313. Published by Music-Scores.com (A0.722408). The story of a moose going about his day-to-day business. He enjoys the morning sun with the rest of the herd, then he goes off at a trot to find that scent. He finally comes back to rejoin the herd and recount his day. This arrangement is for Mixed Ensemble: 2 Flutes, 2 Clarinets, Bassoon, Trumpet, 2 Violins, Viola, Cello and Double Bass.Duration: about 2 minutes, 30 seconds.By Anne L Christopherson GRSM ARCM at www.music-scores.com
$6.95
6.21 €
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Anne L Christopherson GRSM ARCM at
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Anne L Christopherson GRSM ARCM
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Va-Moose! - Mixed Ensemble
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Music-Scores.com
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SheetMusicPlus
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