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PIANO & KEYBOARDS
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883
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566
C Instruments
498
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440
Piano Accompaniment
335
Piano Quartet: piano, violin, viola, cello
261
Piano, Voice
237
Piano, Vocal and Guitar
213
Easy Piano
186
1 Piano, 4 hands
115
Piano Quintet: piano, 2 violins, viola, cello
99
Organ, Trumpet (duet)
78
2 Pianos, 4 hands
71
Organ
55
Accordion ensemble
55
1 Piano, 6 hands
28
Piano ensembles
14
2 Pianos, 8 hands
13
Harpsichord
11
Accordion
10
Keyboard
5
Piano Quartet: piano, 2 violins, cello
5
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1466
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643
Melody line, (Lyrics) and Chords
214
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210
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207
4 Guitars (Quartet)
194
Guitar notes and tablatures
118
3 Guitars (trio)
114
2 Guitars (duet)
89
Bass guitar
60
Ukulele
50
Mandolin, Piano (duet)
34
Guitar, Violin, Cello (trio)
27
3 Dulcimers (trio)
21
2 Ukuleles
6
Piano, Guitar (duet)
5
Mandolin
2
Guitar, Flute, Clarinet
2
Dulcimer
2
Lyrics and Chords
2
Electric Bass (band part)
2
Plectrum Orchestra
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Banjo
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2 Mandolins (duet)
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1
2 Dulcimers (duet)
1
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Lap Steel Guitar
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2454
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741
Choral TTBB
719
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398
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319
Choral Unison
138
Choral
26
Vocal duet
17
Choral SSAATTBB
13
Soli, Mixted choir and accompaniment
12
Vocal duet, Piano
12
Children choir
11
Voice solo
11
Choral SSAB a cappella
10
Choral SSATTB
7
Soprano voice, Piano
6
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4
Tenor voice, Piano
3
Voix Masculines
2
Baritone voice, Piano
2
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2
Choral SAATB A Cappella
1
Choral SSAB, Piano
1
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1
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1
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1
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WOODWIND
Saxophone Quartet: 4 saxophones
7454
Flute, Oboe, Clarinet, Bassoon
5964
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
5408
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5058
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3575
Saxophone Quintet: 5 Saxophones
2100
3 Saxophones (trio)
1890
Clarinet Ensemble
1859
Flute Quartet: 4 flutes
1821
3 Clarinets (trio)
1694
Flute ensemble
1480
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1336
Flute Trio: 3 flutes
1146
Clarinet Quintet: 5 clarinets
816
Flute (band part)
559
Recorder Quartet
549
Flute, Clarinet and Bassoon.
528
Flute, Oboe, Clarinet (trio)
485
Flute, Oboe, Bassoon
430
Clarinet (band part)
394
Flute Quintet : 5 flutes
367
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365
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356
2 Flutes (duet)
355
Flute and Piano
335
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310
3 Recorders (trio)
298
Clarinet and Piano
263
Flute, Violin and Violoncello
263
2 Clarinets (duet)
237
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236
Tenor Saxophone and Piano
222
3 Oboes
194
Alto Saxophone and Piano
174
5 Recorders
154
2 Recorders (duet)
125
Flute, Clarinet (duet)
118
Clarinet
110
Soprano Saxophone and Piano
109
2 Clarinets, Bassoon
90
2 Oboes (duet)
89
4 Oboes
70
Flute, Clarinet, Piano (trio)
58
Flute
57
Flute, Clarinet, Horn and Bassoon (Quartet)
53
Clarinet, Violin (duet)
51
Flute, Cello, Piano (trio)
49
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49
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48
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48
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46
Alto Saxophone
44
Oboe (band part)
43
Oboe
43
Flute, Oboe, Piano (trio)
42
Flute, harp and violin
38
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37
Recorder
37
Oboe, Clarinet (duet)
37
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36
Flute, Viola and harp
35
Clarinet, Cello, Piano (trio)
33
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28
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28
Descant (Soprano) Recorder
28
English horn, Piano
27
Flute and Guitar
26
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25
Clarinet, Bassoon (duet)
22
Tenor Saxophone
21
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20
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19
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19
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17
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16
Clarinet and Viola
16
Clarinette, Viola and Piano (trio)
15
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15
Clarinet, trumpet and piano
14
Clarinet Quartet: Clarinet, Violin, Viola, Cello
14
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14
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11
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11
Oboe, Cello and Piano
11
Treble (Alto) Recorder
11
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10
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10
Oboe, Cello
10
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10
Soprano Saxophone
10
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9
Flute, French horn (duet)
8
Clarinet, Bassoon, Piano (trio)
8
Oboe, Violin, Piano
8
Clarinet Quintet: Clarinet, String Quartet
8
2 Flutes, Piano
7
Saxophone and Piano
7
2 English horns and Pianoforte
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English Horn
7
Oboe and viola (duet)
6
Piccolo, Piano
6
Oboe, Clarinet and Piano (Trio)
5
Descent (Soprano) Recorder, Piano
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2 Clarinets, Piano
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Baritone Saxophone
4
Oboe, Bassoon and Piano
4
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4
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3
Piccolo
3
2 Saxophones, Piano
3
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3
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3893
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2196
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1179
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546
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495
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484
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244
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207
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207
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187
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120
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114
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105
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103
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95
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93
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93
3 Trumpets (trio)
88
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84
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83
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80
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77
4 Tubas
56
French horn
56
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55
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46
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45
Tuba and Organ
42
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40
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30
English horn, Piano
27
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26
3 French horns (trio)
23
Brass Trio
21
Horn, Trumpet, Trombone (trio)
17
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16
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16
Trumpet, Horn (duert)
15
Trombone, Organ
12
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10
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9
3 Euphoniums
9
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9
Bb Instruments
8
3 Tubas (trio)
8
Bass Clef Instruments
8
Trumpet, Trombone, Piano
7
2 English horns and Pianoforte
7
Bass Trombone
7
English Horn
7
Brass Quartet: 2 trumpets, 2 trombones
6
Trombone, Horn (duet)
6
Horn, Cello (duet)
5
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5
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5
Trumpet, Cello, Piano
4
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4
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3
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3
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2
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1
French horn and Basson (duet)
1
Brass Quintet: 2 trumpets, horn, 2 trombones
1
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1
2 French horns, Piano
1
4 Euphoniums
1
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STRINGS
String Quartet: 2 violins, viola, cello
2063
String Trio: violin, viola, cello
2034
Doublebass (band part)
768
String Trio: 2 violins, cello
626
Violin and Piano
586
String Quintet: 2 violins, viola, cello, bass
582
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501
Violin
411
Viola, Piano
303
String Trio: 3 cellos
292
2 Violins (duet)
279
Cello, Piano
234
Harp
213
String Trio: 2 violins, viola
169
4 Cellos
155
2 Harps (duet)
153
Violin, Viola (duet)
152
Cello (band part)
143
String Trio: 3 violins
121
2 Cellos (duet)
121
Violin (band part)
120
2 Violas (duet)
104
Piano Trio: Violin, Viola, Piano
102
Cello Ensemble
89
Viola
87
Double bass, Piano (duet)
73
Cello
70
String quartet: 4 violins
69
Double Bass
48
String Trio: 3 violas
47
Violin ensemble
47
String Quartet : 4 violas
43
Viola, Cello (duet)
42
2 Double basses (duet)
38
Violin, Guitar (duet)
31
Viola ensemble
31
Viola (band part)
27
String Quintet: 2 violins, 2 violas, cello
26
3 double basses
22
Cello, String Bass (duet)
20
Violin, Clarinet, Piano (trio)
20
String trio
20
Harp, Flute (duet)
20
Harp, Violin, Violoncello
19
4 Double Basses
17
4 Harps
11
Cello, Guitar (duet)
10
2 Violas, Piano
7
String Quintet: 2 violins, viola, 2 cellos
7
2 Violins, Piano
7
3 Harps
7
Violin, Organ
6
Violin, Bassoon (duet)
6
5 Harps
6
Viola and Bassoon
5
2 Cellos, Piano
4
Violin, Trumpet and Piano
4
Harp, Cello (duet)
3
Violin, Cello, Clarinet
3
Double basses ensemble
3
Harp, Voice
2
Cello, Orchestra
2
Autoharp
1
Viola, Guitar (duet)
1
Violin, Tuba (duet)
1
Harp, Violin (duet)
1
Viola, Organ
1
Harp (band part)
1
Flute, Doublebass (duet)
1
2 Violins and Basso
1
Harp and Piano
1
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PERCUSSION & ORCHESTRA
Jazz Ensemble
13179
Brass ensemble
5302
Concert band
2684
Orchestra
1615
Percussion Ensemble
1540
String Orchestra
1076
Drum (band part)
940
Chamber Orchestra
647
Jazz combo
633
Handbells
597
Flexible Instrumentation
258
Percussion (band part)
165
Drums
127
Percussion
122
Marching band
98
Vibraphone
39
Marimba
33
Brass Quintet: other combinaisons
22
School Ensemble
18
Xylophone
14
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard
12
2 Xylophones
12
Timpani (band part)
8
3 Percussions
7
Piano and Orchestra
6
Timpani
4
Woodwind Quintet
3
3 Marimbas
3
Vibraphone (band part)
2
Vibraphone and Marimba
2
Cajon
1
Symphonic Band
1
Snare drums
1
Woodwind Quartet: any 4 woodwinds
1
Big band
1
2 Percussions
1
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OTHERS
Musical course - Solfege
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Piano and Orchestra
Sheetmusic to print
6 sheet music found
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1
H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
Piano and Orchestra
Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - L…
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Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Trumpet,Viola,Violin - Level 2 - Digital Download SKU: A0.981569 Composed by Wolfgang Amadeus Mozart. Arranged by Helios D'Andrea. Classical,Contemporary,Instructional. Score and parts. 12 pages. D'Andrea Helios #6735431. Published by D'Andrea Helios (A0.981569). Only variations on an original theme by Mozart.
$5.00
4.62 €
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Piano and Orchestra
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Wolfgang Amadeus Mozart
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H. D'Andrea Variations on a theme by Mozart as a child for piano and orchestra.
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D'Andrea Helios
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SheetMusicPlus
Spanish Dance for Piano and Orchestra
Piano and Orchestra
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,T…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,English Horn,Flute,Oboe,Piano,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.983241 Composed by Joseph Hull. Contemporary. Score and parts. 20 pages. Genesis #3017725. Published by Genesis (A0.983241). This piece for Piano and orchestra captures the rhythms and flavors of Spain. It is 3 min. 52 secondsin length. The piece was originally written for piano solo. .
$7.73
7.14 €
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Piano and Orchestra
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Joseph Hull
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Spanish Dance for Piano and Orchestra
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Genesis
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SheetMusicPlus
Helios D'Andrea Variazioni su un tema di Mozart for piano and orchestra
Piano and Orchestra
Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trumpet,Vi…
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Large Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trumpet,Viola,Violin - Level 3 - Digital Download SKU: A0.981544 Composed by Helios D'Andrea. Classical. Score and parts. 12 pages. D'Andrea Helios #6574203. Published by D'Andrea Helios (A0.981544).
$10.00
9.24 €
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Piano and Orchestra
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Helios D'Andrea
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Helios D'Andrea Variazioni su un tema di Mozart for piano and orchestra
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D'Andrea Helios
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SheetMusicPlus
Tribute to Chopin (Omaggio a Chopin) for piano and orchestra
Piano and Orchestra
Small Ensemble Double Bass,Flute,Horn,Piano - Level 2 - Digital Download SKU: A0.981508…
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Small Ensemble Double Bass,Flute,Horn,Piano - Level 2 - Digital Download SKU: A0.981508 Composed by Helios D'Andrea. 20th Century,Contemporary. Score and parts. 5 pages. D'Andrea Helios #4846343. Published by D'Andrea Helios (A0.981508). Nice music composed for piano and orchestra
$15.00
13.86 €
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Piano and Orchestra
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Helios D'Andrea
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Tribute to Chopin
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D'Andrea Helios
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SheetMusicPlus
Passions (for piano and orchestra)
Piano and Orchestra
Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Tr…
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Large Ensemble Bassoon,Cello,Clarinet,Cymbals,Double Bass,Flute,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba,Viola,Violin - Level 5 - Digital Download SKU: A0.863537 Composed by Jordan Grigg. 20th Century,Concert,Standards. Score and parts. 52 pages. Jordan Grigg #3388747. Published by Jordan Grigg (A0.863537).
$15.95
14.73 €
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Piano and Orchestra
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Jordan Grigg
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Passions
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Jordan Grigg
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SheetMusicPlus
Concerto
Piano and Orchestra
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)
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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