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176
If I Only Had A Brain
Guitar - Level 2 - Digital Download SKU: A0.1227069 Composed by E.Y. Yip Harburg an…
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Guitar - Level 2 - Digital Download SKU: A0.1227069 Composed by E.Y. Yip Harburg and Harold Arlen. Arranged by Gilbert Taunton. Broadway,Children,Film/TV,Musical/Show. 13 pages. Gilbert Taunton #823076. Published by Gilbert Taunton (A0.1227069). Looking for a unique and captivating addition to your school music class or ensemble? Look no further than our classical guitar arrangement of the timeless classic, If I Only Had a Brain from the beloved film, The Wizard of Oz.Our arrangement perfectly captures the essence of this iconic song with beautiful, intricate guitar work that will transport listeners to the magical land of Oz. Featuring both melodic and harmonic elements, this piece will challenge and delight guitar players of all levels.Perfect for school classes and ensembles, our If I Only Had a Brain arrangement is the perfect way to add variety and excitement to your repertoire. With its uplifting message and catchy tune, this song is sure to capture the hearts of your audience and leave them humming along for days to come.So why wait? Add our classical guitar arrangement of If I Only Had a Brain to your repertoire today and give your music class or ensemble the unique and captivating sound they deserve!
$17.00
15.34 €
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E
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If I Only Had A Brain
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Gilbert Taunton
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SheetMusicPlus
Perfect
Strings Piano Accompaniment - Level 1 - Digital Download SKU: A0.1035526 By Ed Shee…
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Strings Piano Accompaniment - Level 1 - Digital Download SKU: A0.1035526 By Ed Sheeran. By Ed Sheeran. Arranged by Alex E. Children,Film/TV,Pop,Wedding. 22 pages. Müller Publishing company #640744. Published by Müller Publishing company (A0.1035526). Perfect by Ed Sheeran - Arrangement for 3 ViolinsDiscover a new dimension of the acclaimed song Perfect by Ed Sheeran with our special arrangement for 3 violins. Globally recognized for its captivating melody and heartfelt lyrics, Perfect has established itself as one of the most iconic romantic songs of our generation. This version, meticulously adapted for three violins, captures the essence and beauty of the original composition, making it a must-have addition to any violinist's repertoire.Crafted with the nuances and learning challenges of the violin in mind, this arrangement is ideal for instructors looking for diverse material for their classes. The composition allows students to explore different techniques and dynamics, promoting not only technical refinement but also musical sensitivity.Furthermore, the structure of the arrangement encourages ensemble practice, fostering coordination and harmonization among students. It's a valuable tool for developing listening skills, rhythm, and the ability to play in sync.Don't miss the opportunity to add this unique arrangement of Perfect to your teaching repertoire. It's a chance to delve into Ed Sheeran's composition in a distinct way, enriching your classes and offering your students a memorable musical experience. Purchase your sheet music now and bring the magic of Perfect to your violin studio!
$12.99
11.72 €
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Ed Sheeran
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Perfect
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Müller Publishing company
#
SheetMusicPlus
THANKSGIVING MEDLEY accompaniment Trax (Piano only). Flute Solo with Piano Accompaniment #FLP639
Piano Accompaniment - Level 3 - Digital Download SKU: A0.1463259 Composed by George…
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Piano Accompaniment - Level 3 - Digital Download SKU: A0.1463259 Composed by George J. Elvey, Arthur H. Messiter, Louis Bourgeois. Arranged by Glen Poehlmann. Christian,Religious,Sacred. Accompaniment. Duration 218. Arrangements by GPoehlmann #1041953. Published by arrangements by GPoehlmann (A0.1463259). This is the ACCOMPANIMENT TRAX (Piano only) for my arrangementTHANKSGIVING MEDLEY - Flute Solo with Piano Accompaniment (#FLP639)arranged by Glen PoehlmannThe arrangement includes 4 hymns that are perfect for the Thanksgiving season!Come, Ye Thankful People Come - hymn tune ST. GEORGE'S, WINDSORWe Gather Together - hymn tune KREMSERRejoice, Ye Pure in Heart - hymn tune MARIONPraise God From Whom All Blessings Flow (Doxology) - hymn tune: OLD HUNDRETHThis MP3 can be used for rehearsal or performance. It is the Piano part alone. The Demonstration includes the Flute Solo part.
$1.99
1.8 €
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George J
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THANKSGIVING MEDLEY accompaniment Trax
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arrangements by GPoehlmann
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SheetMusicPlus
Perfect Illusion
(Accompaniment Only) - Digital Download SKU: HX.388893 By Lady Gaga. Arranged by Ma…
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(Accompaniment Only) - Digital Download SKU: HX.388893 By Lady Gaga. Arranged by Mac Huff. Pop. Choral. Duration 180. Published by Hal Leonard - Digital (HX.388893).
$24.99
22.55 €
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Lady Gaga
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Perfect Illusion
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Hal Leonard - Digital
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SheetMusicPlus
Perfect Day
(Accompaniment Only) - Digital Download SKU: HX.424657 Composed by Colin Towns. Arr…
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(Accompaniment Only) - Digital Download SKU: HX.424657 Composed by Colin Towns. Arranged by Daniel Brinsmead. Concert. Choral. Duration 187. Published by Hal Leonard - Digital (HX.424657).
$19.99
18.04 €
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Colin Towns
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Perfect Day
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Hal Leonard - Digital
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SheetMusicPlus
Perfect
(Accompaniment Only) - Digital Download SKU: HX.410201 Composed by Ed Sheeran. Arra…
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(Accompaniment Only) - Digital Download SKU: HX.410201 Composed by Ed Sheeran. Arranged by Audrey Snyder. Love,Pop,Wedding. Choral. Duration 270. Published by Hal Leonard - Digital (HX.410201).
$24.99
22.55 €
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Ed Sheeran
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Perfect
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Hal Leonard - Digital
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SheetMusicPlus
Perfect Love
(Accompaniment Only) - Digital Download SKU: HX.452181 Composed by Kimberley Hill. …
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(Accompaniment Only) - Digital Download SKU: HX.452181 Composed by Kimberley Hill. Arranged by Stacey Nordmeyer. Sacred. Choral. Duration 210. Published by Hal Leonard - Digital (HX.452181).
$9.99
9.01 €
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Kimberley Hill
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Perfect Love
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Hal Leonard - Digital
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SheetMusicPlus
Making Today a Perfect Day
(Accompaniment Only) - Digital Download SKU: HX.449876 Composed by Kristen Anderson…
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(Accompaniment Only) - Digital Download SKU: HX.449876 Composed by Kristen Anderson-Lopez and Robert Lopez. Arranged by Roger Emerson. Disney,Film/TV,Winter. Choral. Duration 217. Published by Hal Leonard - Digital (HX.449876).
$24.99
22.55 €
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Kristen Anderson-Lopez and Robert Lopez
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Making Today a Perfect Day
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Hal Leonard - Digital
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SheetMusicPlus
Towel and Basin - Lent/Holy Thursday - solo and guitar chords only
Guitar - Level 2 - Digital Download SKU: A0.1158701 Composed by Connie Boss. Easter…
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Guitar - Level 2 - Digital Download SKU: A0.1158701 Composed by Connie Boss. Easter,Religious,Sacred. Chords/Lyrics. 1 pages. Connie Boss #758967. Published by Connie Boss (A0.1158701). This song is perfect for Holy Thursday during Lent. This arrangement is for vocal solo and guitar chords but I have other arrangements that have more parts than this, but this can be used in conjunction with them. It is easier for the guitar player to play from. Any questions or requests email cdboss@cvalley.net.
$3.00
2.71 €
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Connie Boss
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Towel and Basin - Lent/Holy Thursday - solo and guitar chords only
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Connie Boss
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SheetMusicPlus
Only The Ocean
Guitar,Instrumental Duet,Voice - Level 2 - Digital Download SKU: A0.1295021 By Jack…
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Guitar,Instrumental Duet,Voice - Level 2 - Digital Download SKU: A0.1295021 By Jack Johnson. By Adam Topol, Jack Johnson, Merlo Podlewski, and Zach Gill. Arranged by Rob Bullen. 21st Century,Pop. 3 pages. Rob Bullen #885342. Published by Rob Bullen (A0.1295021). Simple lead sheet with two-part voice and guitar chords. Includes separate lyrics. Perfect for a community choir or singing group.
$4.99
4.5 €
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Jack Johnson
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Only The Ocean
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Rob Bullen
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SheetMusicPlus
I Only Looked Away
Choral (Choral) - Digital Download SKU: H1.C5018DP Composed by John Carter. Piano A…
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Choral (Choral) - Digital Download SKU: H1.C5018DP Composed by John Carter. Piano Accompaniment. Lent, Holy Week, Good Friday, Easter Sunday, Commitment. Octavo. 8 pages. Hope Publishing - Digital #C5018DP. Published by Hope Publishing - Digital (H1.C5018DP). Mary Kay Beall.Original Composition Perfect for Maundy Thursday or Good Friday services, this poignant piece by Mary Kay Beall and John Carter recounts the events of Christ's last hours, and the fickleness of human nature from the viewpoint of a curious onlooker. Very effective.
$2.95
2.66 €
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John Carter
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I Only Looked Away
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Hope Publishing - Digital
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SheetMusicPlus
It's Only A Paper Moon
Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.880438 Composed by Har…
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Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.880438 Composed by Harold Arlen. Arranged by DB Williams. Contemporary. 53 pages. DB Music #4845111. Published by DB Music (A0.880438). Another light and lively swing arrangement for flute choir. This arrangement is perfect for the music educator who is looking for an opportunity to introduce flute students to Jazz and improvisation!
$14.99
13.52 €
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Harold Arlen
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It's Only A Paper Moon
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DB Music
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SheetMusicPlus
I Can Only Imagine
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 3 - Digital Downloa…
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.1153993 By MercyMe. By Bart Millard. Arranged by Amauri Lopes. Christian,Pop,Religious,Wedding. 8 pages. Amauri Lopes #754263. Published by Amauri Lopes (A0.1153993). Perfect for weddings, graduations, religious gatherings, auditions and special occasions.
$4.99
4.5 €
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MercyMe
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I Can Only Imagine
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Amauri Lopes
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SheetMusicPlus
I Can Only Imagine
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 3 - Digital Downloa…
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.1154008 By MercyMe. By Bart Millard. Arranged by Amauri Lopes. Christian,Pop,Religious,Wedding. 8 pages. Amauri Lopes #754279. Published by Amauri Lopes (A0.1154008). Perfect for weddings, graduations, religious gatherings, auditions and special occasions.
$4.99
4.5 €
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MercyMe
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I Can Only Imagine
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Amauri Lopes
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SheetMusicPlus
Folk Songs for Weddings-Digital Download
Vocal, Piano, Solo Voice and piano - Digital Download SKU: H1.156DP Wedding, Genera…
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Vocal, Piano, Solo Voice and piano - Digital Download SKU: H1.156DP Wedding, General Worship. Collection. 46 pages. Hope Publishing - Digital #156DP. Published by Hope Publishing - Digital (H1.156DP). By Various Writers.Twenty hymns by Various Writers This collection includes: Turn, Turn, Turn; The Wedding Song; We've Only Just Begun; They'll Know We Are Christians; The Gift of Love; and other favorites.
Song List: Corporate Prayer God Bless This Marriage Intreat Me Not to Leave Thee Kum Ba Yah Let Us Break Bread Together Love One Another May the God of Love O Perfect Love Ode to Joy Our Prayer Prayer of St. Francis Shalom Chaverim Someday, Somewhere Take Our Bread The Gift Of Love The Two Shall Be as One They'll Know We Are Christians By Our Love Turn! Turn! Turn! Wedding Song (There Is Love) You Made Us for Each Other
$22.95
20.71 €
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Various Writers
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The Wedding Song
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Folk Songs for Weddings-Digital Download
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Hope Publishing - Digital
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.First WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here, the instruments are an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.
$47.95
43.26 €
#
Giovanni Gabrieli
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Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giova…
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Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It seems like Gabrieli may have invented dynamics – or was rather the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a response from the group on the other. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.26 €
#
Giovanni Gabrieli
#
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
#
jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.26 €
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Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giova…
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String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards. 45 pages. Jmsgu3 #3479835. Published by jmsgu3 (A0.549267). A musical monument: the first composition to employ dynamics. Minimum instrumentation: 11 cellos.  Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.26 €
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Giovanni Gabrieli
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Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 54 pages. Jmsgu3 #824153. Published by jmsgu3 (A0.1228233). Minimum instrumentation: 4 Cornets in Bb, 4 French Horns in F, 1 Tenor Trombone, 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was instead the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can sound perfectly in balance in contrast.First WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges shown by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here, the instruments are an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller units for vocal soloists, accompanied by a basso continuo.
$47.95
43.26 €
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Giovanni Gabrieli
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Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early Music,Renaissance,Traditional,Wedding. 43 pages. Jmsgu3 #825055. Published by jmsgu3 (A0.1229556). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 1 Tenor Trombone & 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.26 €
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Giovanni Gabrieli
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1 Bass Trombone
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Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
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jmsgu3
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SheetMusicPlus
Lost Boy
Guitar - Level 2 - Digital Download SKU: A0.1135655 By Ruth B. By Ruth Berhe. Arran…
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Guitar - Level 2 - Digital Download SKU: A0.1135655 By Ruth B. By Ruth Berhe. Arranged by Brian Streckfus. Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 2 pages. Brian Streckfus #735713. Published by Brian Streckfus (A0.1135655). This is a shortened version of the song to fit nicely on two pages (I needed a shorter version for the circumstances I'm under). The melody and lyrics are like the original as far as I can tell, but I did make changes to the harmony. Usually these changes to the harmony are to enhance the word painting, or to have it be more idiomatic to guitar. A version like this is ideal for someone who wants to play a very fancy version of the song on solo guitar, though adding vocals in should still be fairly easy. I personally sing a lot better if I can play the melody first on guitar because then I know exactly what I'm doing. Versions like these can really be as simple or as complex as you want, if you want something simple, just play the chord diagrams and sing!1. Guitar Arrangement Lead Sheet Style2. Guitar Tab 3. Chord Charts 4. Less stereotypical chords 5. Fingerings and letter names added to aid in sight-reading 6. Voice leading considerations 7. Making the music idiomatic for guitarTips:1. Notes with the stem direction going down are background harmonies that should be played quietly. This hidden meaning tends to only happen with polyphonic instruments such as piano and guitar. You'll eventually notice this anyways because there is no lyric underneath the note.1. Slurs are notated to the make the music easier and better sounding for guitar not vocals, though of course it often mimicks slurs similiar to a vocalist.2. Fmaj7(#11) is not in the original and is a key change since it includes an F and not an F#.3. Sometimes it can look like the melody does not contain a key change, but then when you anaylze the letter names of the chords, you will find that there is indeed key changes in the chords. The Beatles is a good example of a band that does this often.4. E minor and G major chords technically only need 2 or 3 notes. This is one simple but effective strategy to have less cliche chords.5. The F(#5)(#11) chord in the second to last measure could probably be just an F major chord.6. The E natural in measure 42 could be an Eb if the harmony is too avant-garde for you. Made sense to me because of word painting and I wanted a keyless and dreamy feeling for the end. 7. G/B chords are arguably nicer than a full G chord, though of course the decision is ultimately up to. It is better because the chord is imperfect, it causes the audience to not clap too soon. I also only strum the chord up to where the vocal melody is happening, that way the main melody is always in the spot light, and I find songs are easier to sing this way.
$1.99
1.8 €
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Ruth B
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Lost Boy
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Brian Streckfus
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SheetMusicPlus
Hallelujah from Messiah by Handel for Brass Quartet
Brass Quartet - Level 2 - Digital Download SKU: A0.1406803 Composed by George Fride…
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Brass Quartet - Level 2 - Digital Download SKU: A0.1406803 Composed by George Frideric Handel. Arranged by Ander. Baroque,Chamber,Christian,Easter. 15 pages. Woods Only, Arrangements #989556. Published by Woods Only, Arrangements (A0.1406803). We present our arrangement of the acclaimed song Hallelujah from Handel’s oratorio “The Messiahâ€, adapted for Brass Quartet. This sheet music is a faithful reproduction of the original composition, bringing the grandeur of Handel’s work to the chamber music. George Frideric Handel, one of the greatest composers of the Baroque period, composed The Messiah in 1741. The piece, cataloged as HWV 56 in Handel’s works catalog, is known for its emotional depth and musical complexity. The song “Hallelujah†is one of the most recognized in the oratorio, celebrating the resurrection and the final victory over sin and death. This arrangement is perfect for teachers looking to expand their student's didactic repertoire, offering a unique opportunity to explore Baroque music in a chamber context. In addition, it is an excellent choice for groups wishing to present an impactful piece in recitals or concerts. With the arrival of the month of March, Easter is approaching. What better way to celebrate than with the music that encapsulates the joy and hope of this season? This arrangement of Hallelujah is the perfect choice to add a special touch to your Easter celebrations. Purchase our arrangement of Hallelujah and experience the timeless beauty of Handel’s music in a new way. Take the opportunity to own a piece that will surely delight musicians and listeners. Don’t miss the chance to make your performances even more memorable.
$7.99
7.21 €
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George Frideric Handel
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Hallelujah from Messiah by Handel for Brass Quartet
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Woods Only, Arrangements
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SheetMusicPlus
Hallelujah from Messiah by Handel for Woodwind Quartet
Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1405028 Com…
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Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1405028 Composed by George Frideric Handel. Arranged by Ander. Baroque,Chamber,Christian,Easter. 15 pages. Woods Only, Arrangements #988064. Published by Woods Only, Arrangements (A0.1405028). We present our arrangement of the acclaimed song Hallelujah from Handel’s oratorio “The Messiahâ€, adapted for Woodwind Quartet. This sheet music is a faithful reproduction of the original composition, bringing the grandeur of Handel’s work to the chamber music. George Frideric Handel, one of the greatest composers of the Baroque period, composed The Messiah in 1741. The piece, cataloged as HWV 56 in Handel’s works catalog, is known for its emotional depth and musical complexity. The song “Hallelujah†is one of the most recognized in the oratorio, celebrating the resurrection and the final victory over sin and death. This arrangement is perfect for teachers looking to expand their student's didactic repertoire, offering a unique opportunity to explore Baroque music in a chamber context. In addition, it is an excellent choice for groups wishing to present an impactful piece in recitals or concerts. With the arrival of the month of March, Easter is approaching. What better way to celebrate than with the music that encapsulates the joy and hope of this season? This arrangement of Hallelujah is the perfect choice to add a special touch to your Easter celebrations. Purchase our arrangement of Hallelujah and experience the timeless beauty of Handel’s music in a new way. Take the opportunity to own a piece that will surely delight musicians and listeners. Don’t miss the chance to make your performances even more memorable.
$7.99
7.21 €
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George Frideric Handel
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Hallelujah from Messiah by Handel for Woodwind Quartet
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Woods Only, Arrangements
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SheetMusicPlus
Hallelujah from Messiah by Handel for Tuba Quintet
Low Brass Quintet,Tuba - Level 3 - Digital Download SKU: A0.1397297 Composed by Geo…
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Low Brass Quintet,Tuba - Level 3 - Digital Download SKU: A0.1397297 Composed by George Frideric Handel. Arranged by Ander. Baroque,Chamber,Christian,Easter. 21 pages. Woods Only, Arrangements #980613. Published by Woods Only, Arrangements (A0.1397297). We present our arrangement of the acclaimed song Hallelujah from Handel’s oratorio “The Messiahâ€, adapted for Tuba Quintet. This sheet music is a faithful reproduction of the original composition, bringing the grandeur of Handel’s work to the chamber music. George Frideric Handel, one of the greatest composers of the Baroque period, composed The Messiah in 1741. The piece, cataloged as HWV 56 in Handel’s works catalog, is known for its emotional depth and musical complexity. The song “Hallelujah†is one of the most recognized in the oratorio, celebrating the resurrection and the final victory over sin and death. This arrangement is perfect for teachers looking to expand their student's didactic repertoire, offering a unique opportunity to explore Baroque music in a chamber context. In addition, it is an excellent choice for groups wishing to present an impactful piece in recitals or concerts. With the arrival of the month of March, Easter is approaching. What better way to celebrate than with the music that encapsulates the joy and hope of this season? This arrangement of Hallelujah is the perfect choice to add a special touch to your Easter celebrations. Purchase our arrangement of Hallelujah and experience the timeless beauty of Handel’s music in a new way. Take the opportunity to own a piece that will surely delight musicians and listeners. Don’t miss the chance to make your performances even more memorable.
$9.99
9.01 €
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George Frideric Handel
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Hallelujah from Messiah by Handel for Tuba Quintet
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Woods Only, Arrangements
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SheetMusicPlus
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