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You've selected:
I Got the Feelin' - F Horn
Sheetmusic to print
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1
I Got The Feelin'
Brass Quartet: 2 trumpets, horn, trombone
Brass Quartet - Early Intermediate - Digital Download By James Brown. Arranged by J…
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Brass Quartet - Early Intermediate - Digital Download By James Brown. Arranged by Jeff Tincher. Score, Set of Parts. 17 pages. Published by Jeff Tincher
It's time to get your funk on !!! This is one of James Brown's early hits. In the original key from the single release, this one will have you movin' to the groove. This arrangement include the ending from his 1968 Boston Gardens concert. Duration = 2:51. https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.
$12.99
12.12 €
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Brass Quartet: 2 trumpets, horn, trombone
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James Brown
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I Got The Feelin'
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Jeff Tincher
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SheetMusicPlus
I Gotta Feeling
Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - Digital Download …
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Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.752383 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Rob Bushnell. Hip-Hop,Pop,R & B. 38 pages. RBMusic #5210549. Published by RBMusic (A0.752383). Produced by David Guetta and Frédéric Riesterer, I Gotta Feeling is the second single from the album The E.N.D., the fifth released by The Black Eyed Peas. It debuted at number two on the Billboard Hot 100, behind the group’s song Boom Boom Pow, making the one of only eleven artists who have held the top two positions at the same time. It reached number one in the US charts and won the group the Grammy for the Best Pop Performance by a Duo or Group with Vocals. The album also won Best Pop Vocal Album and Best Short Form Music Video as well as being nominated for Album of the Year and Record of the Year. I Gotta Feeling became the first song to sell over 7 million digital copies in the United States in March 2011 and holds the record as the best digital seller in history. It spent 14 consecutive weeks at the of the Billboard Hot 100, making it the longest-running number-one single of 2009. This arrangement includes oompah sections, as well as alternative parts for tenor horn, treble-clef euphonium, and tubas (both bass and treble clef). A recording of the original song can be found on YouTube: https://www.youtube.com/watch?v=uSD4vsh1zDA. Other searchable terms: World Music Awards, Frederic Riesterer, William Adams, Allan Pineda, Jaime Gomez, Stacy Ferguson, will.i.am, Square Prod, Paris, France, Metropolis Studios, London, England, United Kingdom, Take a Dive, Bryan Pringle, The Police, Every Breath You Take, Five Stairsteps, Ooh Child, I'll Go Crazy If I Don't Go Crazy Tonight, Kick-off Party, The Oprah Winfrey Show, Super Bowl XLV, FIRST Robotics Competition World Championships, Queen Elizabeth II, Diamond Jubilee, Jessie J, Southeast Asian Games, J Rey, Soul, Jessica Reynoso, Apl.de.ap, Fergie, Taboo, Hollywood Boulevard, Dipdive, Mikey Mee, Little Minx, Katy Perry, Kid Cudi, Gossip, Dean Caten, Dan Caten, Dsquared2, RuPaul, Ongina, CBS, CNN, Winter Olympics, Vancouver, Sochi, The Big Band Theory, Miami Medical, Horrid Henry, G-Force
$16.99
15.85 €
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The Black Eyed Peas
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I Gotta Feeling
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RBMusic
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SheetMusicPlus
I Gotta Feeling
Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - Digital Download …
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Baritone Horn TC,Bass Trombone,Cornet,Euphonium,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.752385 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Rob Bushnell. Hip-Hop,Pop,R & B. 41 pages. RBMusic #5213267. Published by RBMusic (A0.752385). Produced by David Guetta and Frédéric Riesterer, I Gotta Feeling is the second single from the album The E.N.D., the fifth released by The Black Eyed Peas. It debuted at number two on the Billboard Hot 100, behind the group’s song Boom Boom Pow, making the one of only eleven artists who have held the top two positions at the same time. It reached number one in the US charts and won the group the Grammy for the Best Pop Performance by a Duo or Group with Vocals. The album also won Best Pop Vocal Album and Best Short Form Music Video as well as being nominated for Album of the Year and Record of the Year. I Gotta Feeling became the first song to sell over 7 million digital copies in the United States in March 2011 and holds the record as the best digital seller in history. It spent 14 consecutive weeks at the of the Billboard Hot 100, making it the longest-running number-one single of 2009. This arrangement includes oompah sections, as well as alternative parts for tenor horn, treble-clef euphonium and tubas. A recording of the original song can be found on YouTube: https://www.youtube.com/watch?v=uSD4vsh1zDA. Other searchable terms: World Music Awards, Frederic Riesterer, William Adams, Allan Pineda, Jaime Gomez, Stacy Ferguson, will.i.am, Square Prod, Paris, France, Metropolis Studios, London, England, United Kingdom, Take a Dive, Bryan Pringle, The Police, Every Breath You Take, Five Stairsteps, Ooh Child, I'll Go Crazy If I Don't Go Crazy Tonight, Kick-off Party, The Oprah Winfrey Show, Super Bowl XLV, FIRST Robotics Competition World Championships, Queen Elizabeth II, Diamond Jubilee, Jessie J, Southeast Asian Games, J Rey, Soul, Jessica Reynoso, Apl.de.ap, Fergie, Taboo, Hollywood Boulevard, Dipdive, Mikey Mee, Little Minx, Katy Perry, Kid Cudi, Gossip, Dean Caten, Dan Caten, Dsquared2, RuPaul, Ongina, CBS, CNN, Winter Olympics, Vancouver, Sochi, The Big Band Theory, Miami Medical, Horrid Henry, G-Force
$16.99
15.85 €
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The Black Eyed Peas
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I Gotta Feeling
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RBMusic
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SheetMusicPlus
I Gotta Feeling
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Guitar,Keyboard,Tenor Sa…
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Guitar,Keyboard,Tenor Saxophone,Trombone,Trumpet - Digital Download SKU: A0.764227 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Steve Hoover. Hip-Hop,R & B. Score and parts. 50 pages. Steve Hoover Music #3210701. Published by Steve Hoover Music (A0.764227). I Gotta Feeling - BLACK EYED PEAS - PRO COMBO - 6 HORNS! - opt KEYS 2scored for trumpet 1, trumpet 2, trombone, alto sax, tenor sax, bari sax, keyboard 1, keyboard 2 (opt.), guitar, bass, drumsNO VOCAL CHART PROVIDED
$19.99
18.65 €
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The Black Eyed Peas
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I Gotta Feeling
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Steve Hoover Music
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SheetMusicPlus
I Gotta Feeling
French horn
Interactive Download SKU: HX.391515 By The Black Eyed Peas. This edition: Interacti…
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Interactive Download SKU: HX.391515 By The Black Eyed Peas. This edition: Interactive Download. Hip-Hop,Pop. French Horn Solo. 2 pages. Published by Hal Leonard - Digital (HX.391515).
$2.99
2.79 €
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French horn
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The Black Eyed Peas
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I Gotta Feeling
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Hal Leonard - Digital
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SheetMusicPlus
Key West Sunrise for horn, harp, vibraphone, cello, and bassoon
Large Ensemble Bassoon,Cello,Harp,Horn,Vibraphone - Level 4 - Digital Download SKU: A0.…
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Large Ensemble Bassoon,Cello,Harp,Horn,Vibraphone - Level 4 - Digital Download SKU: A0.1010610 Composed by Jing Liu. 20th Century,Contemporary,Jazz. Score and parts. 8 pages. Jing Liu #550749. Published by Jing Liu (A0.1010610). Submitted for 2015 Areon Flutes International Chamber Music Composition Competition I heard someone describe Key West as a conglomeration of the weirdest, most eccentric individuals in America. Add in the quirky shops, the feral roosters roaming the streets, the beautiful city beaches, and the relaxed island attitude prevalent in the Keys, and you’ve got something truly special. I’ve been to Key West twice, and decided to write this piece to capture the indescribable aura this place emits. The unconventional instrumentation was chosen to represent a group of random people come together, yet thriving in perfect harmony. Key West Sunrise starts slow and atmospheric, watching the sun peak over the horizon. The horn, cello, and bassoon sustain long notes while the vibraphone and harp provide flourishes of activity, before rooster calls rudely interrupt. And then we’re off-the morning is in full force, with jazzy ostinatos in the vibe, glisses in the harps, and the main theme being passed around. It builds and builds, and ends on a strong note-but with the feeling that there’s more to come. Because in Key West, there always is. JL, August 2014.
$9.99
9.32 €
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Jing Liu
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Key West Sunrise for horn, harp, vibraphone, cello, and bassoon
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Jing Liu
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SheetMusicPlus
I Got the Feelin' - Bb Horn/Flugelhorn
French horn (band part)
By James Brown. Arranged by Paul Murtha. Marching Band. Funk; Pop; Rock; Soul. Marching Ba…
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By James Brown. Arranged by Paul Murtha. Marching Band. Funk; Pop; Rock; Soul. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.6 €
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French horn (band part)
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James Brown
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Pop
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I Got the Feelin' - Bb Horn/Flugelhorn
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
I Gotta Feeling
Large Ensemble Bass Voice,Drums,Guitar,Keyboard,Percussion,Tenor Saxophone,Trombone,Trumpe…
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Large Ensemble Bass Voice,Drums,Guitar,Keyboard,Percussion,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.717752 By The Black Eyed Peas. By Allan Pineda, David Guetta, Frederic Riesterer, Jaime Gomez, Stacy Ferguson, and Will Adams. Arranged by Daryl McKenzie. Hip-Hop,R & B. Score and parts. 26 pages. Daryl McKenzie #3514785. Published by Daryl McKenzie (A0.717752). Vocal (voice part not included) with Small Band (Tenor Sax, Trumpet, Trombone, 2 Keyboards, Guitar, Bass, Drums, Percussion). Playable without horns. As recorded by the Black Eyed Peas. Key of G.More arrangements by Daryl McKenzie: https://www.sheetmusicplus.com/publishers/daryl-mckenzie/6128?aff_id=674845
$29.99
27.98 €
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The Black Eyed Peas
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I Gotta Feeling
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Daryl McKenzie
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SheetMusicPlus
I Gotta Feeling - Bb Horn/Flugelhorn
French horn
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
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By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Murtha. Marching band. For Bb Horn/Flugelhorn. Pop; Rock. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.6 €
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French horn
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Black Eyed Peas and The Black Eyed Peas
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Rock
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I Gotta Feeling - Bb Horn/Flugelhorn
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
I Gotta Feeling - Baritone B.C.
Tuba or Euphonium or Saxhorn
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
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By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Michael Brown. Concert Band. For Baritone B.C.. Pop. Concert Band. 1 pages. Duration 1:40. Published by Hal Leonard - Digital Sheet Music
$6.00
5.6 €
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Tuba or Euphonium or Saxhorn
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Black Eyed Peas and The Black Eyed Peas
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I Gotta Feeling - Baritone B.C.
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
I Gotta Feeling - Baritone T.C.
Saxhorn or Euphonium
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
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By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Michael Brown. Concert Band. For Baritone T.C.. Pop. Concert Band. 1 pages. Duration 1:40. Published by Hal Leonard - Digital Sheet Music
$6.00
5.6 €
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Saxhorn or Euphonium
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Black Eyed Peas and The Black Eyed Peas
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I Gotta Feeling - Baritone T.C.
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
I Gotta Feeling - Baritone T.C.
Saxhorn or Euphonium
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
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By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Murtha. Marching band. For Baritone T.C.. Pop; Rock. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.6 €
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Saxhorn or Euphonium
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Black Eyed Peas and The Black Eyed Peas
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Rock
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I Gotta Feeling - Baritone T.C.
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
I Gotta Feeling - Baritone B.C. (Opt. Tbn. 2)
Tuba or Euphonium or Saxhorn
By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stac…
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By Black Eyed Peas and The Black Eyed Peas. By Will Adams, Jaime Gomez, Allan Pineda, Stacy Ferguson, David Guetta, and Frederic Riesterer. Arranged by Paul Murtha. Marching band. For Baritone B.C. (Opt. Tbn. 2). Pop; Rock. Marching Band. 1 pages. Published by Hal Leonard - Digital Sheet Music
$6.00
5.6 €
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Tuba or Euphonium or Saxhorn
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Black Eyed Peas and The Black Eyed Peas
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Rock
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I Gotta Feeling - Baritone B.C.
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Why do we Fall?
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.1272785 Composed by Drew Morris. …
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Concert Band - Level 3 - Digital Download SKU: A0.1272785 Composed by Drew Morris. 21st Century,Classical,Contemporary,Contest,Festival. Score and Parts. 70 pages. Yellow Envelope Publications #864982. Published by Yellow Envelope Publications (A0.1272785). This piece is a slow, reflective piece, meant to capture the feeling of Autumn. I wrote it while watching the leaves change color and eventually fall from the trees through my office window, after all. (I miss that view).It has several solos and soli opportunities sprinkled throughout, especially in the flute. And because I always felt sad that percussionists often got left out of the slow emotional pieces, I did my best to write parts to include a few more of them than you see in typical slow band pieces.Instrumentation2 Flute, Oboe, 2 Bassoon (splits are doubled elsewhere), 3 Clarinet, Bass Clarinet, 2 Alto Saxophone, Tenor Saxophone, Baritone Saxophone, 3 Trumpet, 4 French Horn, 3 Trombone, Euphonium, Treble Clef Euphonium, TubaString BassTimpani, Bass drum, Suspended Cymbal, Tam-tamGlockenspiel, Vibraphone, Chimes, Marimba
$65.00
60.63 €
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Concert band
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Drew Morris
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Why do we Fall?
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Yellow Envelope Publications
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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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SheetMusicPlus
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