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Via Con Me
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Via Con Me
Choral SATB
Choral Choir,Choral (SATB) - Level 1 - Digital Download SKU: A0.1290271 By Aylin Pr…
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Choral Choir,Choral (SATB) - Level 1 - Digital Download SKU: A0.1290271 By Aylin Pradin. By Paulo Conte. Arranged by Andrea Figallo. 20th Century,A Cappella,Pop. 8 pages. Andrea Figallo #880978. Published by Andrea Figallo (A0.1290271). A Paolo Conte classic, inspired by Neri Per Caso's Ciro Caravano arrangement. SATB choir with a Bass or baritone melody/solo all through the song. Ideal for beginner choirs or vocal quintets.Please contact me at andrea@andreafigallo.com for the midi learning files. Am, modulates to Bbm.
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Choral SATB
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Aylin Pradin
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Via Con Me
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Andrea Figallo
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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)
$23.99
22.39 €
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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
Via Con Me
Solo Guitar - Digital Download SKU: A0.961491 By Paolo Conte. By Paolo Conte and Pa…
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Solo Guitar - Digital Download SKU: A0.961491 By Paolo Conte. By Paolo Conte and Paulo Conte. Arranged by Colin Tommis. Contemporary. Individual part. 3 pages. Colin Tommis #4632101. Published by Colin Tommis (A0.961491). This is just one of a large collection of arrangements of popular tunes for advanced classical or acoustic guitar players - or very good intermediate-standard players. In some cases, ideas from the original are developed so that the piece can sustain interest as an instrumental piece. There is no tablature and no chords, just music notation.
$4.99
4.66 €
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Paolo Conte
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Via Con Me
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Colin Tommis
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SheetMusicPlus
Via Con Me
Choral SATB
By Paolo Conte. By Paulo Conte and Paolo Conte. Arranged by Bacco Baccanels. Contempor…
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By Paolo Conte. By Paulo Conte and Paolo Conte. Arranged by Bacco Baccanels. Contemporary. Octavo. 14 pages. Bacco Baccanels #6232575. Published by Bacco Baccanels
$4.80
4.48 €
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Choral SATB
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Paolo Conte
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Via Con Me
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SheetMusicPlus
Via Con Me
C Instruments
C Instrument - Level 3 - Digital Download SKU: A0.1103327 By Paolo Conte. By Paulo …
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C Instrument - Level 3 - Digital Download SKU: A0.1103327 By Paolo Conte. By Paulo Conte. Arranged by Luca Aletta. Jazz,Pop. Lead Sheet / Fake Book. 3 pages. Luca Aletta #706588. Published by Luca Aletta (A0.1103327). Lead Sheet with lyrics, chords and melody. It's from the original version.
$8.00
7.47 €
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C Instruments
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Paolo Conte
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Via Con Me
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Luca Aletta
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SheetMusicPlus
Via Con Me
Piano, Vocal and Guitar
By Paolo Conte. Jazz. Piano/Vocal/Guitar. 3 pages. Published by Hal Leonard - Digital Shee…
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By Paolo Conte. Jazz. Piano/Vocal/Guitar. 3 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
4.66 €
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Piano, Vocal and Guitar
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Paolo Conte
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Via Con Me
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Via Con Me
C Instruments
C Instrument - Level 3 - Digital Download SKU: A0.1133673 Composed by Paulo Conte. …
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C Instrument - Level 3 - Digital Download SKU: A0.1133673 Composed by Paulo Conte. Arranged by Christoph Fleischmann. 20th Century,Jazz,Multicultural,Pop,World. Lead Sheet / Fake Book. 1 pages. Tonstoff #733789. Published by Tonstoff (A0.1133673). A simple Leadsheet Version for small jazz ensemble for Bb Instruments.
$9.99
9.32 €
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C Instruments
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Paulo Conte
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Via Con Me
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Tonstoff
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SheetMusicPlus
Mozart Horn Concerto 3 - K. 447 - Score Only
Level 3 - Digital Download SKU: A0.1141684 Composed by Wolfgang Amadeus Mozart. Arr…
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Level 3 - Digital Download SKU: A0.1141684 Composed by Wolfgang Amadeus Mozart. Arranged by Nelson Ramos. Classical. 22 pages. Published / Arranged by Nelson Ramos #742046. Published by Published / Arranged by Nelson Ramos (A0.1141684). IMPORTANT: If you want to help me, and instead of buying the arrangement via this platform, which takes 50% comission over the price from the arranger / composer, please contact me via email at nelsonramos@pm.me and I may even make you a discount, since I will receive the value in its entirety.Contact me for the parts PDF, and having been shown proof of acquisition, I will gladly send them.I adapted/arranged the Horn Concerto 3, by Amadeus Mozart, for a Mixed Ensemble, with French Horn Solo, constituted by Organ, Piano, Soprano and Alto Saxophone, Flute, Clarinet in Bb, Trombone and French Horn, apropos of a small project I used to have with a class at EAB, in Portugal – that explains the unusual orchestration. If required, separate parts can be sent via email, if shown purchase proof.
$20.00
18.67 €
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Wolfgang Amadeus Mozart
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Mozart Horn Concerto 3 - K. 447 - Score Only
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Published / Arranged by Nelson Ramos
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SheetMusicPlus
Harpsichord Concerto in Fm - BWV 1056 - Score Only
Level 4 - Digital Download SKU: A0.1141689 Composed by Johann Bach and Johann Sebas…
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Level 4 - Digital Download SKU: A0.1141689 Composed by Johann Bach and Johann Sebastian Bach. Arranged by Nelson Ramos. Baroque,Classical. 25 pages. Published / Arranged by Nelson Ramos #742055. Published by Published / Arranged by Nelson Ramos (A0.1141689). IMPORTANT: If you want to help me, and instead of buying the arrangement via this platform, which takes 50% comission over the price from the arranger / composer, please contact me via email at nelsonramos@pm.me and I may even make you a discount, since I will receive the value in its entirety.Contact me for the parts PDF, and having been shown proof of acquisition, I will gladly send them.I adapted/arranged this Harpsichord Concerto, by Johann Sebastian Bach, for a Mixed Ensemble, with Harpsichord Solo, constituted by Harpsichord, Piano, Soprano and Alto Saxophone, Flute, Clarinet in Bb, Trombone and French Horn, apropos of a small project I used to have with a class at EAB, in Portugal – that explains the unusual orchestration. Inasmuch as there was no tuba, the French Horn part, played by myself, had to play really low notes. If required, separate parts can be sent via email, if shown purchase proof.
$20.00
18.67 €
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Johann Bach and Johann Sebastian Bach
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Harpsichord Concerto in Fm - BWV 1056 - Score Only
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Published / Arranged by Nelson Ramos
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SheetMusicPlus
Clarinet Concerto in A major, K. 622 - Score Only
Level 3 - Digital Download SKU: A0.1141683 Composed by Wolfgang Amadeus Mozart. Arr…
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Level 3 - Digital Download SKU: A0.1141683 Composed by Wolfgang Amadeus Mozart. Arranged by Nelson Ramos. Classical. 8 pages. Published / Arranged by Nelson Ramos #742041. Published by Published / Arranged by Nelson Ramos (A0.1141683). IMPORTANT: If you want to help me, and instead of buying the arrangement via this platform, which takes 50% comission over the price from the arranger / composer, please contact me via email at nelsonramos@pm.me and I may even make you a discount, since I will receive the value in its entirety.Contact me for the parts PDF, and having been shown proof of acquisition, I will gladly send them.I adapted/arranged this Clarinet Concerto, by Amadeus Mozart, for a Mixed Ensemble, with Alto Saxophone Solo, constituted by Organ, Piano, Soprano and Alto Saxophone, Flute, Clarinet in Bb, Trombone and French Horn, apropos of a small project I used to have with a class at EAB, in Portugal – that explains the unusual orchestration. Inasmuch as there was no tuba, the French Horn part, played by myself, had to play really low notes. If required, separate parts can be sent via email, if shown purchase proof.
$20.00
18.67 €
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Wolfgang Amadeus Mozart
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Clarinet Concerto in A major, K. 622 - Score Only
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Published / Arranged by Nelson Ramos
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SheetMusicPlus
Oboe Concerto in Dm - S.Z799 - Score Only
Level 4 - Digital Download SKU: A0.1141677 Composed by Alessandro Ignazio Marcello.…
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Level 4 - Digital Download SKU: A0.1141677 Composed by Alessandro Ignazio Marcello. Arranged by Nelson Ramos. Baroque,Chamber,Classical. 18 pages. Published / Arranged by Nelson Ramos #742036. Published by Published / Arranged by Nelson Ramos (A0.1141677). IMPORTANT: If you want to help me, and instead of buying the arrangement via this platform, which takes 50% comission over the price from the arranger / composer, please contact me via email at nelsonramos@pm.me and I may even make you a discount, since I will receive the value in its entirety.Contact me for the parts PDF, and having been shown proof of acquisition, I will gladly send them.I adapted/arranged this Oboe Concerto, by Alessandro Marcello, for a Mixed Ensemble, with Soprano Saxophone Solo, constituted by Organ, Piano, Soprano and Alto Saxophone, Flute, Clarinet in Bb, Trombone and French Horn, apropos of a small project I used to have with a class at EAB, in Portugal – that explains the unusual orchestration. Inasmuch as there was no tuba, the French Horn part, played by myself, had to play really low notes. If required, separate parts can be sent via email, if shown purchase proof.
$20.00
18.67 €
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Alessandro Ignazio Marcello
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Oboe Concerto in Dm - S.Z799 - Score Only
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Published / Arranged by Nelson Ramos
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SheetMusicPlus
Piano Concerto in D – Hoboken XVIII/11, Rondo all'Ungarese - Score Only
Level 3 - Digital Download SKU: A0.1141686 Composed by Franz Joseph Haydn. Arranged…
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Level 3 - Digital Download SKU: A0.1141686 Composed by Franz Joseph Haydn. Arranged by Nelson Ramos. Classical. 22 pages. Published / Arranged by Nelson Ramos #742049. Published by Published / Arranged by Nelson Ramos (A0.1141686). IMPORTANT: If you want to help me, and instead of buying the arrangement via this platform, which takes 50% comission over the price from the arranger / composer, please contact me via email at nelsonramos@pm.me and I may even make you a discount, since I will receive the value in its entirety.Contact me for the parts PDF, and having been shown proof of acquisition, I will gladly send them.I adapted/arranged this Piano Concerto, by Franz Haydn, for a Mixed Ensemble, with Piano Solo, constituted by Organ, Piano, Soprano and Alto Saxophone, Flute, Clarinet in Bb, Trombone and French Horn, apropos of a small project I used to have with a class at EAB, in Portugal – that explains the unusual orchestration. Inasmuch as there was no tuba, the French Horn part, played by myself, had to play really low notes. If required, separate parts can be sent via email, if shown purchase proof.
$20.00
18.67 €
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Franz Joseph Haydn
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Piano Concerto in D – Hoboken XVIII/11, Rondo all'Ungarese - Score Only
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Published / Arranged by Nelson Ramos
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SheetMusicPlus
The Skye Boat Song (for Concert Band)
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.918659 Composed by Clive Longhurs…
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Concert Band - Level 2 - Digital Download SKU: A0.918659 Composed by Clive Longhurst. Arranged by Clive Longhurst. World. Score and parts. 62 pages. Clive Longhurst #5296421. Published by Clive Longhurst (A0.918659). I hope I have captured the journey, from Scottish mainland to the Isle of Skye, by the young Bonny Prince Charles. This piece can be played along side the brass band arrangement I already have on this site.If you purchase this, and require different instrumental parts, please contact me via e-mail: stickwaver1@gmail.com, and I will gladly supply it FOC.My usual apologies for the quality of the audio file. This is work in progress to find a more suitable (preferably free) version.
$15.00
14 €
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Concert band
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Clive Longhurst
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The Skye Boat Song
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Clive Longhurst
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SheetMusicPlus
Far and Away: Concerto for Oboe and String Orchestra in A flat Major (9x12)
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1025353 Composed by Jamey As…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1025353 Composed by Jamey Aston. 20th Century,Contemporary. Score and parts. 77 pages. Montana Knites Publishing #5802253. Published by Montana Knites Publishing (A0.1025353). Concerto for Oboe and String Orchestra: Far and AwayOboe, Violin I & II, Solo Violin, Viola, Cello, Contrabass*Optimized for 9 x 12 in paperAn intermediate level piece suitable for college level or advanced high school orchestras. Far and Away is a semi-thematic piece. The first movement is pastoral in nature with a gentle melody and strong call and response between the oboe and the orchestra. The driving second movement, The Adventure, is true to its name with a constant string ostinato keeping the listener on the edge of their seat. The Journey Home, the third movement, is light and jovial with some emotional surprises for the audience. Duration: 19 minutes. First movement 9 minutes. Second and third movements each approximately 5 minutes.Publisher: Montana Knites Publishing ASCAPFacebook: @jameyastonTwitter: @JameyAstonwww.montanaknites.comI would love to hear you play this! If you do, please contact me at jamey.aston@montanaknites.com and let me know where I can see your performance!
$34.95
32.62 €
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Chamber Orchestra
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Jamey Aston
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Far and Away: Concerto for Oboe and String Orchestra in A flat Major
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Montana Knites Publishing
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SheetMusicPlus
Far and Away: Concerto for Oboe and String Orchestra in A flat Major (8 1/2 x 11)
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1025352 Composed by Jamey As…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1025352 Composed by Jamey Aston. 20th Century,Contemporary. Score and parts. 82 pages. Montana Knites Publishing #5294211. Published by Montana Knites Publishing (A0.1025352). Concerto for Oboe and String Orchestra: Far and AwayOboe, Violin I & II, Solo Violin, Viola, Cello, Contrabass*Optimized for 8 1/2 x 11 in paperAn intermediate level piece suitable for college level or advanced high school orchestras. Far and Away is a semi-thematic piece. The first movement is pastoral in nature with a gentle melody and strong call and response between the oboe and the orchestra. The driving second movement, The Adventure, is true to its name with a constant string ostinato keeping the listener on the edge of their seat. The Journey Home, the third movement, is light and jovial with some emotional surprises for the audience. Duration: 19 minutes. First movement 9 minutes. Second and third movements each approximately 5 minutes.Publisher: Montana Knites Publishing ASCAPFacebook: @jameyastonTwitter: @JameyAstonwww.montanaknites.comI would love to hear you play this! If you do, please contact me at jamey.aston@montanaknites.com and let me know where I can see your performance!
$34.95
32.62 €
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Chamber Orchestra
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Jamey Aston
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Far and Away: Concerto for Oboe and String Orchestra in A flat Major
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Montana Knites Publishing
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SheetMusicPlus
Let Me Go, Lover!
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201365 By Peggy Lee.…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201365 By Peggy Lee. By Al Hill and Jenny Lou Carson. Arranged by John Fries. 20th Century,Country,Pop,Standards. Score. 2 pages. John Fries #800020. Published by John Fries (A0.1201365). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. It is based on an earlier song called Let Me Go, Devil, about alcoholism. Let Me Go, Lover was first featured on the television program Studio One on November 15, 1954, and caught the fancy of the public. Mitch Miller took advantage of the recording's exposure on national television and sent copies of the record to 2,000 disc jockeys, who began to play it on their radio stations. A result of the program was to illustrate how efficiently a song could be promoted by introducing it to the public via radio or a TV production.
$4.99
4.66 €
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Piano, Vocal and Guitar
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Peggy Lee
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Let Me Go, Lover!
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John Fries
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SheetMusicPlus
Let Me Go, Lover!
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201367 By Peggy Lee.…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1201367 By Peggy Lee. By Al Hill and Jenny Lou Carson. Arranged by John Fries. 20th Century,Country,Pop,Standards. Score. 2 pages. John Fries #800022. Published by John Fries (A0.1201367). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. It is based on an earlier song called Let Me Go, Devil, about alcoholism. Let Me Go, Lover was first featured on the television program Studio One on November 15, 1954, and caught the fancy of the public. Mitch Miller took advantage of the recording's exposure on national television and sent copies of the record to 2,000 disc jockeys, who began to play it on their radio stations. A result of the program was to illustrate how efficiently a song could be promoted by introducing it to the public via radio or a TV production.
$4.99
4.66 €
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Piano, Vocal and Guitar
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Peggy Lee
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Let Me Go, Lover!
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John Fries
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SheetMusicPlus
Concerto in G major G.1077 - 2 clarinets and piano
2 Clarinets (duet)
Woodwind Ensemble - Level 3 - Digital Download SKU: A0.877287 Composed by Domenico …
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Woodwind Ensemble - Level 3 - Digital Download SKU: A0.877287 Composed by Domenico Cimarosa. Arranged by Tak Chiu Wong. Classical,Concert,Standards. 45 pages. Tak Chiu Wong #4299929. Published by Tak Chiu Wong (A0.877287). Concerto in G major G.1077 originally for 2 flutes and orchestraarranged for 2 clarinets and piano in F major by Dr. Tak Chiu WongScore and Parts with optional cadenzaFor any inquiry, you are welcome to contact me via my website: www.takchiuwong.com
$9.99
9.32 €
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2 Clarinets (duet)
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Domenico Cimarosa
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Concerto in G major G.1077 - 2 clarinets and piano
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Tak Chiu Wong
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SheetMusicPlus
Concerto in G major G.1077 - 2 saxophones and piano
Woodwind Ensemble - Level 3 - Digital Download SKU: A0.877288 Composed by Domenico …
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Woodwind Ensemble - Level 3 - Digital Download SKU: A0.877288 Composed by Domenico Cimarosa. Arranged by Tak Chiu Wong. Classical,Concert,Graduation,Standards. 46 pages. Tak Chiu Wong #4299931. Published by Tak Chiu Wong (A0.877288). Concerto in G major G.1077 originally for 2 flutes and orchestraarranged for 2 soprano saxophones and piano in F major by Dr. Tak Chiu WongScore and Parts with optional cadenzaFor any inquiry, you are welcome to contact me via my website:www.takchiuwong.com
$9.99
9.32 €
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Domenico Cimarosa
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Concerto in G major G.1077 - 2 saxophones and piano
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Tak Chiu Wong
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SheetMusicPlus
Lean On Me
Choral SATB
Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.500708 By Bill Withers. By…
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Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.500708 By Bill Withers. By Bill Withers. Arranged by G. M. Morley. A Cappella. Octavo. 8 pages. G. M. Morley #5709685. Published by G. M. Morley (A0.500708). This four part a cappella arrangement of Bill Wither's classic song, Lean on Me from Withers' second album, Still Bill, is simple enough but still has a few challenging moments in placesThis version of the song will be a welcome addition to the repertoire for weddings and pop or community choir performances.If you would like to contact me about this arrangement or would like to request something specific, please message me via my page:Â https://www.facebook.com/GMMorleyMusic/Â If you perform this piece, I'd love to hear from you.
$3.00
2.8 €
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Choral SATB
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Bill Withers
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Lean On Me
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G. M. Morley
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SheetMusicPlus
Paolo Conte : Via con me
Keyboard
Clavier arrangeur
Clavier arrangeur
4.99 €
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Keyboard
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Paolo Conte
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Via con me
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Noviscore
Paolo Conte : Via con me
Eb Instruments
Instruments en Mi bémol
Instruments en Mi bémol
4.99 €
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Eb Instruments
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Paolo Conte
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Via con me
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Noviscore
Paolo Conte : Via con me
Bb Instruments
Instruments en Si bémol
Instruments en Si bémol
4.99 €
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Bb Instruments
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Paolo Conte
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Via con me
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Noviscore
Paolo Conte : Via con me
C Instruments
Instruments en Do
Instruments en Do
4.99 €
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C Instruments
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Paolo Conte
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Via con me
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Noviscore
Paolo Conte : Via con me
Piano Accompaniment
Partitions piano d'accompagnement
Partitions piano d'accompagnement
4.99 €
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Piano Accompaniment
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Paolo Conte
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Via con me
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Noviscore
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