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Time To Change
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546
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410
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90
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71
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67
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24
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12
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9
1 Piano, 4 hands
6
2 Pianos, 4 hands
5
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3
Organ, Piano (duet)
2
Piano Quartet: piano, violin, viola, cello
2
Piano (band part)
2
Harpsichord
1
Piano Quartet: piano, 2 violins, cello
1
1 Piano, 6 hands
1
+ 11 instrumentations
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Guitar
31
Guitar notes and tablatures
14
2 Guitars (duet)
10
Guitar (band part)
4
4 Guitars (Quartet)
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3 Guitars (trio)
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Bass guitar
2
Lyrics and Chords
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Ukulele
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Piano, Guitar (duet)
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136
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62
Choral 2-part
27
Choral TTBB
23
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18
Choral SSAA
18
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5
Vocal duet
4
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3
Alto voice, Piano
3
High voice
2
Choral SSAATTBB
2
Low voice
1
Tenor voice, Piano
1
Voice solo
1
Medium voice, Piano
1
Low voice, Piano
1
+ 12 instrumentations
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Woodwind
2 Saxophones (duet)
70
Saxophone Quartet: 4 saxophones
50
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
40
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35
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33
2 Flutes (duet)
33
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32
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30
Alto Saxophone and Piano
29
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29
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24
Clarinet and Piano
22
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20
Clarinet, Violin (duet)
20
Soprano Saxophone and Piano
19
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18
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17
Oboe, Flute
16
Flute
14
2 Oboes (duet)
14
Clarinet Ensemble
13
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13
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13
Saxophone ensemble
12
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12
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12
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12
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11
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11
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11
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10
Flute, Trumpet (duet)
9
Tenor Saxophone and Piano
8
Flute, Violin
8
3 Saxophones (trio)
8
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7
Alto Saxophone
7
Flute ensemble
6
Flute Trio: 3 flutes
6
English Horn
5
Oboe (band part)
4
3 Clarinets (trio)
4
Tenor Saxophone
4
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4
Baritone Saxophone, Piano
4
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4
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3
Recorder Quartet
3
English horn, Piano
3
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3
Clarinet, Bassoon (duet)
3
Oboe, Clarinet, Bassoon (trio)
3
Oboe
2
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2
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2
Flute, Violin, Violoncello and Piano
2
Flute, Oboe, Bassoon
2
Clarinet, Guitar (duet)
2
2 Recorders (duet)
2
Flute Quintet : 5 flutes
2
Treble (Alto) Recorder
1
Clarinet, Cello (duet)
1
Flute, Violoncello
1
Flute, Clarinet and Bassoon.
1
Oboe and viola (duet)
1
Saxophone and Organ
1
Flute (band part)
1
Flute, Oboe, Clarinet (trio)
1
Recorder
1
2 Saxophones, Piano
1
Flute, harp and violin
1
3 Recorders (trio)
1
+ 67 instrumentations
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Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba
38
Brass quartet : 2 trumpets, trombone, tuba
30
Trumpet, Saxophone (duet)
23
2 Trumpets (duet)
19
Trombone and Piano
16
2 Trombones (duet)
15
Trumpet, Trombone (duet)
14
Trumpet
13
Trombone (band part)
13
French Horn and Piano
12
Brass Quartet: 2 trumpets, horn, trombone
11
Trumpet (band part)
10
Trombone
9
Trumpet, Piano
9
Brass Quartet
7
French horn
6
English Horn
5
Brass Quartet: 4 horns
3
Euphonium, Piano (duet)
3
English horn, Piano
3
Tuba and Piano
3
Brass Quartet: 4 trombones
3
Tuba
2
Euphonium
2
Tuba (band part)
2
Trombone ensemble
2
Trumpet ensemble
2
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2
Euphonium, Tuba (duet)
2
2 French horns (duet)
2
Bass Trombone
1
Brass Trio
1
Trumpet, Horn (duert)
1
4 Tubas
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1
French horn (band part)
1
2 Euphoniums and 2 Tubas
1
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1
2 Euphoniums (duet)
1
3 Trombones (trio)
1
3 Tubas (trio)
1
2 Tubas (duet)
1
Horn Ensemble
1
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Harp
90
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86
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28
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25
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23
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22
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21
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19
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18
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18
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17
Cello
14
2 Harps (duet)
12
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10
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9
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8
4 Cellos
4
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3
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3
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2
String quartet: 4 violins
2
String Quintet: 2 violins, 2 violas, cello
2
Harp, Voice
2
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2
4 Double Basses
1
String Trio: 3 violins
1
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1
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1
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1
String Trio: 3 violas
1
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1
String Quartet : 4 violas
1
Viola (band part)
1
4 Harps
1
Cello, Orchestra
1
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147
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58
String Orchestra
56
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52
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39
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22
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Xylophone
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Time To Change
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French horn
Sheetmusic to print
6 sheet music found
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1
California Dreamin'
#
French horn
#
BEGINNER
#
Rock
#
The Mamas And The Papas
#
Alex Nunes Rodrigues
#
California Dreamin'
#
Alex Rodrigues
#
SheetMusicPlus
French Horn Solo - Level 1 - Digital Download SKU: A0.1490072 By The Mamas And The Papas. By John Phillips and Michelle Phillips. Arranged by Alex Nunes ...
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French Horn Solo - Level 1 - Digital Download SKU: A0.1490072 By The Mamas And The Papas. By John Phillips and Michelle Phillips. Arranged by Alex Nunes Rodrigues. Rock. Individual part. 1 pages. Alex Rodrigues #1066940. Published by Alex Rodrigues (A0.1490072). Released in 1965 by the American group The Mamas & the Papas, California Dreamin' quickly became a cornerstone of 60s folk rock. Emerging during a time of significant cultural and social change, the song conveys a deep sense of longing and the desire to escape, encapsulating the yearning for a warmer, more welcoming climate. The song not only became an anthem for those dreaming of sunny California but also secured its place in history as one of the greatest songs of all time, ranking #89 on Rolling Stone's list of the 500 Greatest Songs of All Time.This sheet music has been adapted to suit musicians at a beginner to intermediate level. The main melody remains faithful to the original composition but has been transposed to a more accessible and comfortable key for the chosen instrument.California Dreamin' is a song that captures the essence of the desire for change and refuge in a more welcoming environment. The lyrics, describing a cold winter day with brown leaves and a gray sky, contrast with the idealization of California as a sunlit paradise.
$5.99
California Dreamin'
#
French horn
#
BEGINNER
#
Rock
#
The Mamas And The Papas
#
Alex Nunes Rodrigues
#
California Dreamin'
#
Alex Rodrigues
#
SheetMusicPlus
French Horn Solo - Level 1 - Digital Download SKU: A0.1490078 By The Mamas And The Papas. By John Phillips and Michelle Phillips. Arranged by Alex Nunes ...
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French Horn Solo - Level 1 - Digital Download SKU: A0.1490078 By The Mamas And The Papas. By John Phillips and Michelle Phillips. Arranged by Alex Nunes Rodrigues. Rock. Individual part. 1 pages. Alex Rodrigues #1066946. Published by Alex Rodrigues (A0.1490078). Released in 1965 by the American group The Mamas & the Papas, California Dreamin' quickly became a cornerstone of 60s folk rock. Emerging during a time of significant cultural and social change, the song conveys a deep sense of longing and the desire to escape, encapsulating the yearning for a warmer, more welcoming climate. The song not only became an anthem for those dreaming of sunny California but also secured its place in history as one of the greatest songs of all time, ranking #89 on Rolling Stone's list of the 500 Greatest Songs of All Time.This sheet music has been adapted to suit musicians at a beginner to intermediate level. The main melody remains faithful to the original composition but has been transposed to a more accessible and comfortable key for the chosen instrument.California Dreamin' is a song that captures the essence of the desire for change and refuge in a more welcoming environment. The lyrics, describing a cold winter day with brown leaves and a gray sky, contrast with the idealization of California as a sunlit paradise.
$5.99
Donut Etudes vol. 3: Don’t Step in the Holes! – Horn Quartet
#
French horn
#
INTERMEDIATE
#
Instructional
#
Joshua Hauser
#
 
#
Donut Etudes vol. 3: Don’t S
#
Slide Ride
#
SheetMusicPlus
French Horn Solo - Level 3 - Digital Download SKU: A0.784335 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288663. Pu...
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French Horn Solo - Level 3 - Digital Download SKU: A0.784335 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288663. Published by Slide Ride (A0.784335). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
Horn Sonata No. 3 (Complete)
#
French horn
#
ADVANCED
#
Mike Lyons
#
Horn Sonata No. 3
#
Lyons Music Services
#
SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.767350 Composed by Mike Lyons. Concert,Contemporary. Individual part. 7 pages. Lyons Music Services...
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French Horn Solo - Level 5 - Digital Download SKU: A0.767350 Composed by Mike Lyons. Concert,Contemporary. Individual part. 7 pages. Lyons Music Services #3520235. Published by Lyons Music Services (A0.767350). This is my third new sonata for unaccompanied French horn. it has three movements as follows: Movement 1: Dance It begins with a crotchet theme which forms the basis of the rest of the movement. The opening should be stately and measured, but not slow. The echoes should be as quiet as possible for each statement of the opening motif. I have made a lot of use of rhythmic features in this movement. After the Maestoso, the 12/8 section is in the nature of a jig, with lots of repeated pitches and very rhythmical There's much use of syncopation. After I have played around with these ideas (intervals based on the opening) there is a more legato tune, also based on the opening music, but in a grander style and marked nobilmente. This is almost a processional, and leads to a reprise of the jig motifs in a new mode and with modifications to the rhythm. The second movement of this sonata is a set of 3 variations on an original tune. The melody is quite hymn-like and needs to be played as such. Very legato, with very slight tongue. Variation 1 is an 8th note variation, with a slight increase in tempo to help it to flow. The player will need to pay close attention to the written phrasing so as not to lose the theme. This variation is p throughout. Variation 2 is a triplet/sextuplet variation, again with a slight increase in tempo. This variation has turns, which I have written out in ossias above to be clear how I would like it to be played. Variation 3 is a semiquaver and glissando variation, requiring good tongue technique and clear phrasing. Breathing should be easy as I have made provision for breaths to mark the ends of phrases. Please don't change these! Finally, there is a restatement of the original theme with slight adaptations to bring the movement to a quiet finish. The third and final movement of the sonata is a rondo. The opening music keeps returning throughout the length of the movement. It comprises a stuttering rhythmic phrase with alternating upwards and downwards scales which gradually build up throughout the opening of the movement. Each time the ritornello idea returns it has been altered in some way. Between the ritornelli are slightly less frenetic sections of cantabile melodic ideas which hark back to both the first and second movements as well as referencing the scalic ideas from the third movement. Although the music is fast, it should be playable without resorting to triple tonguing.
$18.00
Horn Sonata No. 2 (Complete)
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French horn
#
ADVANCED
#
Contemporary
#
Mike Lyons
#
Horn Sonata No. 2
#
Lyons Music Services
#
SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.767345 Composed by Mike Lyons. Contemporary. Individual part. 7 pages. Lyons Music Services #351854...
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French Horn Solo - Level 5 - Digital Download SKU: A0.767345 Composed by Mike Lyons. Contemporary. Individual part. 7 pages. Lyons Music Services #3518541. Published by Lyons Music Services (A0.767345). This is my second Horn Sonata for unaccompanied horn. Like the first, it has 3 movements, each of which can be played on their own. 1st. Movement: Andante piacere The music of the first section is based on the opening idea. The descending glissandos and the repeated note figures should be taken in a leisurely way, a piacere, rather than in totally strict time. In bar 10, the flz should appear out of the tied note, without a fresh tongue. From letter A, the music is based on the repeated note patterns which are gradually developed and metamorphosed into new shapes in a gradual process. At letter B, a second motif is added which is more expressive and dynamically diverse. The development of this idea reaches a climax at the rall before letter C, from where this idea becomes more frenetic and agitated until it 'tires itself out' in the pauses before letter D. Here the original repeated note motif reappears to provide a basic ternary shape as the original ideas, changed by the development process are re-stated in their new forms. The closing pauses should be played as marked, with comma breaks, but not between the two notes in the penultimate bar. 2nd Movement: Adagio This movement is slow and wistful, atmospheric and drifting. Each phrase should be given its own space. Each individual motif has its own rises and falls and these should be tastefully exaggerated to give them as much definition as possible. 3rd. Movement: Allegro vivace This movement is intended to be flashy and full of life. The 7/8 time signature gives it plenty of off-beat vivacity. Players will need to make sure they know what the pulse is as it shifts from 2+2+3 to 2+3+2 and 3+2+2. Much of the material (motifs) are related to the music of the first two movements so this rousing finale will brig a sense of completeness to the performance of the sonata, though it can, of course, be played as a separate piece in its own right. This movement is both enjoyable and challenging, requiring a good technique and counting skills. The subtle shifts to 6/8 and 5/8 - and even 3/4 time need to be treated with care.
$18.00
Horn Sonata - No. 2 - 1st. Movement - Andante a piacere
#
French horn
#
ADVANCED
#
Contemporary
#
Mike Lyons
#
Horn Sonata - No. 2 - 1st. Mov
#
Lyons Music Services
#
SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.767343 Composed by Mike Lyons. Contemporary. Individual part. 4 pages. Lyons Music Services #351682...
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French Horn Solo - Level 5 - Digital Download SKU: A0.767343 Composed by Mike Lyons. Contemporary. Individual part. 4 pages. Lyons Music Services #3516821. Published by Lyons Music Services (A0.767343). This is the first movement of my second Horn Sonata. The music of the first section is based on the opening idea. The descending glissandos and the repeated note figures should be taken in a leisurely way, a piacere, rather than in totally strict time. In bar 10, the flz should appear out of the tied note, without a fresh tongue. From letter A, the music is based on the repeated note patterns which are gradually developed and metamorphosed into new shapes in a gradual process. At letter B, a second motif is added which is more expressive and dynamically diverse. The development of this idea reaches a climax at the rall befor letter C, frome where this idea becomes more frenetic and agitated until it 'tires itself out' in the pauses before letter D. Here the original repeated note motif reappears to provide a basic ternary shape as the original ideas, changed by the development process are re-stated in their new forms. The closing pauses should be played as marked, with comma breaks, but not between the two notes in the penultimate bar.
$8.00
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