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26
Trumpet Scales Grade 5. For the new ABRSM Syllabus from 2023.
Trumpet
B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.1227792 Composed by ABRSM.…
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B-Flat Trumpet Solo - Level 3 - Digital Download SKU: A0.1227792 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 3 pages. Tim Curd #823755. Published by Tim Curd (A0.1227792). Trumpet Scales Grade 5. For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Cornet in Bb, Soprano Cornet, Flugelhorn, Horn, Eb Horn, Baritone/Euphonium (treble clef), and Tuba (treble clef in Eb)Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed either tongued or slurred.The candidate will only need to learn one type of minor scale; either harmonic or melodic.B Major Scale: a 12thB Major Arpeggio: a 12thC Major Scale: a 12thC Major Arpeggio: a 12thDb Major Scale: a 12thDb Major Arpeggio: a 12thG Major Scales: 2 OctavesG Major Arpeggio: 2 OctavesBb Harmonic Minor Scale: a 12thBb Melodic Minor Scale: a 12thBb Minor Arpeggio: a 12thC# Harmonic Minor Scale: a 12thC# Melodic Minor Scale: a 12thC# Minor Arpeggio: a 12thF Harmonic Minor Scale: 1 Octave and down to the dominant.F Melodic Minor Scale: 1 Octave and down to the dominant.F Minor Arpeggio: 1 Octave and down to the dominant.G Harmonic Minor Scale: 2 OctavesG Melodic Minor Scale: 2 OctavesG Minor Arpeggio: 2 OctavesG Chromatic: 2 OctavesWhole Tone Scale in G: 2 OctavesDominant 7th in the key of C, Resolving on TonicDominant 7th in the key of Db, Resolving on TonicDiminished 7th in G: 2 Octaves.
$1.99
1.86 €
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Trumpet
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ABRSM
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either harmonic or melodic
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Trumpet Scales Grade 5. For the new ABRSM Syllabus from 2023.
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Tim Curd
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SheetMusicPlus
Horn Scales Grade 5. For the new ABRSM Syllabus from 2023.
French horn
French Horn Solo - Level 3 - Digital Download SKU: A0.1227736 Composed by ABRSM. Ar…
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French Horn Solo - Level 3 - Digital Download SKU: A0.1227736 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 3 pages. Tim Curd #823700. Published by Tim Curd (A0.1227736). Horn Scales Grade 5. For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed either tongued or slurredThe candidate will only need to learn one type of minor scale; either harmonic or melodic.A Major Scale: a 12thA Major Arpeggio: a 12thB Major Scale: a 12thB Major Arpeggio: a 12thD Major Scale: 2 OctavesD Major Arpeggio: 2 OctavesG Major Scale: 2 OctavesG Major Arpeggio: 2 OctavesC Harmonic Minor Scale: a 12thC Melodic Minor Scale: a 12thC Minor Arpeggio Scale: a 12thA Harmonic Minor Scale: 1 Octave and down to the dominantA Melodic Minor Scale: 1 Octave and down to the dominantA Minor Arpeggio Scale: 1 Octave and down to the dominantD Harmonic Minor: 2 OctavesD Melodic Minor: 2 OctavesD Minor Arpeggio: 2 OctavesF# Harmonic Minor: 2 OctavesF# Melodic Minor: 2 OctavesF# Minor Arpeggio: 2 OctavesF Chromatic: 2 OctavesWhole Tone Scale in F: 2 OctavesDominant 7th in the Key of A, resolving on tonicDominant 7th in the Key of C, resolving on tonicDiminished 7th in G: 2 Octaves.
$1.99
1.86 €
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French horn
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ABRSM
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either harmonic or melodic
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Horn Scales Grade 5. For the new ABRSM Syllabus from 2023.
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Tim Curd
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SheetMusicPlus
Trumpet Scales Grade 4. For the new ABRSM Syllabus from 2023.
Trumpet
B-Flat Trumpet Solo - Level 2 - Digital Download SKU: A0.1227791 Composed by ABRSM.…
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B-Flat Trumpet Solo - Level 2 - Digital Download SKU: A0.1227791 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823754. Published by Tim Curd (A0.1227791). Trumpet Scales Grade 4. For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Cornet in Bb, Soprano Cornet, Flugelhorn, Horn, Eb Horn, Baritone/Euphonium (treble clef), and Tuba (treble clef in Eb)Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed either tongued or slurred.The candidate will only need to learn one type of minor scale; either harmonic or melodic.F Major Scale: 1 OctaveF Major Arpeggio: 1 OctaveAb Major Scale: a 12thAb Major Arpeggio: a 12thBb Major Scale: a 12thBb Major Arpeggio: a 12thEb Major Scale: 1 Octave and down to the dominantEb Major Arpeggio: 1 Octave and down to the dominantF Harmonic Minor Scale: 1 OctaveF Melodic Minor Scale: 1 OctaveF Minor Arpeggio: 1 OctaveA Harmonic Minor Scale: a 12thA Melodic Minor Scale: a 12thA Minor Arpeggio: a 12thB Harmonic Minor Scale: a 12thB Melodic Minor Scale: a 12thB Minor Arpeggio: a 12thBb Chromatic: 1 OctaveDominant 7th in the key of Bb, Resolving on Tonic.
$1.99
1.86 €
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Trumpet
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ABRSM
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either harmonic or melodic
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Trumpet Scales Grade 4. For the new ABRSM Syllabus from 2023.
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Tim Curd
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SheetMusicPlus
Horn Scales Grade 3. For the new ABRSM Syllabus from 2023.
French horn
French Horn Solo - Level 2 - Digital Download SKU: A0.1227732 Composed by ABRSM. Ar…
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French Horn Solo - Level 2 - Digital Download SKU: A0.1227732 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823696. Published by Tim Curd (A0.1227732). Horn Scales Grade 3. For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed either tongued or slurred (only tongued for Trombone)The candidate will only need to learn one type of minor scale; either harmonic or melodic.Eb Major Scale: 1 OctaveEb Major Arpeggio: 1 OctaveG Major Scale: a 12thG Major Arpeggio: a 12thC Harmonic Minor Scale: 1 OctaveC Melodic Minor Scale: 1 OctaveC Minor Arpeggio Scale: 1 OctaveE Harmonic Minor: a 12thE Melodic Minor: a 12thE Minor Arpeggio: a 12thC Chromatic: 1 Octave.
$1.99
1.86 €
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French horn
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ABRSM
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either harmonic or melodic
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Horn Scales Grade 3. For the new ABRSM Syllabus from 2023.
#
Tim Curd
#
SheetMusicPlus
Trombone Scales (bass clef) Grade 5. For the new ABRSM Syllabus from 2023.
Trombone
Tenor Trombone,Trombone Solo - Level 3 - Digital Download SKU: A0.1227780 Composed …
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Tenor Trombone,Trombone Solo - Level 3 - Digital Download SKU: A0.1227780 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 3 pages. Tim Curd #823743. Published by Tim Curd (A0.1227780). Trombone Scales Grade 5 (Bass Clef). For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed tongued only. The candidate will only need to learn one type of minor scale: either harmonic or melodic.A Major Scale: a 12thA Major Arpeggio: a 12thC Major Scale: a 12thC Major Arpeggio: a 12thF Major Scale: a 12thF Major Arpeggio: a 12thG Major Scale: 2 OctavesG Major Arpeggio: 2 OctavesA Harmonic Minor Scale: a 12thA Melodic Minor Scale: a 12thA Minor Arpeggio: a 12thC Harmonic Minor Scale: a 12thC Melodic Minor Scale: a 12thC Minor Arpeggio: a 12thEb Harmonic Minor Scale: 1 Octave and down to the dominantEb Melodic Minor Scale: 1 Octave and down to the dominantEb Minor Arpeggio: 1 Octave and down to the dominantG Harmonic Minor Scale: 2 OctavesG Melodic Minor Scale: 2 OctavesG Minor Arpeggio: 2 OctavesF Chromatic: 2 OctavesWhole Tone in F, 2 OctavesDominant 7th in the key of Bb, 2 Octaves resolving on the tonicDominant 7th in the key of C, 2 Octaves resolving on the tonicDiminished 7th in F: 2 Octaves.
$1.99
1.86 €
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Trombone
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ABRSM
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Trombone Scales
#
Tim Curd
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SheetMusicPlus
Trombone Scales (bass clef) Grade 3. For the new ABRSM Syllabus from 2023.
Trombone
Tenor Trombone,Trombone Solo - Level 2 - Digital Download SKU: A0.1227772 Composed …
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Tenor Trombone,Trombone Solo - Level 2 - Digital Download SKU: A0.1227772 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823735. Published by Tim Curd (A0.1227772). Trombone Scales Grade 3 (Bass Clef). For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Trombone in C Bass ClefPlease note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed tongued only. The candidate will only need to learn one type of minor scale; either harmonic or melodic.Db Major Scale: 1 OctaveDb Major Arpeggio: 1 OctaveD Major Scale: 1 OctaveD Major Arpeggio: 1 OctaveBb Harmonic Minor Scale: 1 OctaveBb Melodic Minor Scale: 1 OctaveBb Minor Arpeggio: 1 OctaveD Harmonic Minor Scale: 1 OctaveD Melodic Minor Scale: 1 OctaveD Minor Arpeggio: 1 OctaveC Chromatic: 1 Octave.
$1.99
1.86 €
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Trombone
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ABRSM
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either harmonic or melodic
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Trombone Scales
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Tim Curd
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SheetMusicPlus
Horn Scales Grade 2. For the new ABRSM Syllabus from 2023.
French horn
French Horn Solo - Level 1 - Digital Download SKU: A0.1227731 Composed by ABRSM. Ar…
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French Horn Solo - Level 1 - Digital Download SKU: A0.1227731 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823695. Published by Tim Curd (A0.1227731). Horn Scales Grade 2. For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed either tongued or slurred.The candidate will only need to learn one type of minor scale; either natural, harmonic or melodic.Bb Major Scale: 1 OctaveBb Major Arpeggio: 1 OctaveD Major Scale: 1 OctaveD Major Arpeggio: 1 OctaveA Natural Minor Scale: 1 OctaveA Harmonic Minor Scale: 1 OctaveA Melodic Minor Scale: 1 OctaveA Minor Arpeggio: 1 OctaveD Natural Minor Scale: 1 OctaveD Harmonic Minor Scale: 1 OctaveD Melodic Minor Scale: 1 OctaveD Minor Arpeggio: 1 Octave.
$1.99
1.86 €
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French horn
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ABRSM
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Horn Scales Grade 2. For the new ABRSM Syllabus from 2023.
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Tim Curd
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SheetMusicPlus
Horn Scales Grade 1. For the new ABRSM Syllabus from 2023.
French horn
French Horn Solo - Level 1 - Digital Download SKU: A0.1227729 Composed by ABRSM. Ar…
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French Horn Solo - Level 1 - Digital Download SKU: A0.1227729 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 1 pages. Tim Curd #823692. Published by Tim Curd (A0.1227729). Horn Scales Grade 1. For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed either tongued or slurred.The candidate will only need to learn one type of minor scale; either natural, harmonic or melodic.C Major Scale: 1 OctaveC Major Arpeggio: 1 OctaveA Natural Minor Scale: 1 OctaveA Harmonic Minor Scale: 1 OctaveA Melodic Minor Scale: 1 OctaveA Minor Arpeggio: 1 Octave.
$1.99
1.86 €
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French horn
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ABRSM
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Horn Scales Grade 1. For the new ABRSM Syllabus from 2023.
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Tim Curd
#
SheetMusicPlus
Trombone Scales (bass clef) Grade 2. For the new ABRSM Syllabus from 2023.
Trombone
Tenor Trombone,Trombone Solo - Level 1 - Digital Download SKU: A0.1227769 Composed …
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Tenor Trombone,Trombone Solo - Level 1 - Digital Download SKU: A0.1227769 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 2 pages. Tim Curd #823733. Published by Tim Curd (A0.1227769). Trombone Scales Grade 2 (Bass Clef). For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Trombone in C Bass ClefPlease note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed tongued only. The candidate will only need to learn one type of minor scale; either natural, harmonic or melodic.Ab Major Scale: 1 OctaveAb Major Arpeggio: 1 OctaveC Major Scale: 1 OctaveC Major Arpeggio: 1 OctaveG Natural Minor Scale: 1 OctaveG Harmonic Minor Scale: 1 OctaveG Melodic Minor Scale: 1 OctaveG Minor Arpeggio: 1 OctaveC Natural Minor Scale: 1 OctaveC Harmonic Minor Scale: 1 OctaveC Melodic Minor Scale: 1 OctaveC Minor Arpeggio: 1 Octave.
$1.99
1.86 €
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Trombone
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ABRSM
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Trombone Scales
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Tim Curd
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SheetMusicPlus
Trombone Scales (bass clef) Grade 1. For the new ABRSM Syllabus from 2023.
Trombone
Tenor Trombone,Trombone Solo - Level 1 - Digital Download SKU: A0.1227752 Composed …
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Tenor Trombone,Trombone Solo - Level 1 - Digital Download SKU: A0.1227752 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 1 pages. Tim Curd #823715. Published by Tim Curd (A0.1227752). Trombone Scales Grade 1 (Bass Clef). For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Trombone in C Bass ClefPlease note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed tongued only. The candidate will only need to learn one type of minor scale; either natural, harmonic or melodic.Bb Major Scale: 1 OctaveBb Major Arpeggio: 1 OctaveG Natural Minor Scale: 1 OctaveG Harmonic Minor Scale: 1 OctaveG Melodic Minor Scale: 1 OctaveG Minor Arpeggio: 1 Octave.
$1.99
1.86 €
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Trombone
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ABRSM
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Trombone Scales
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Tim Curd
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SheetMusicPlus
Trumpet Scales Grade 8. For the new ABRSM Syllabus from 2023.
Trumpet
B-Flat Trumpet Solo - Level 5 - Digital Download SKU: A0.1227795 Composed by ABRSM.…
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B-Flat Trumpet Solo - Level 5 - Digital Download SKU: A0.1227795 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 4 pages. Tim Curd #823759. Published by Tim Curd (A0.1227795). Trumpet Scales Grade 8. For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Cornet in Bb, Flugelhorn, Horn, Eb Horn, Baritone/Euphonium (treble clef), and Tuba (treble clef in Eb)Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed either tongued, legato tongued or slurred.The candidate will need to learn both harmonic and melodic minor scales.F Major Scale: a 12thF Major Arpeggio: a 12thF Harmonic Minor Scale: a 12thF Melodic Minor Scale: a 12thF Minor Arpeggio: a 12thF# Major Scale: a 12thF# Major Arpeggio: a 12thF# Harmonic Minor Scale: a 12thF# Melodic Minor Scale: a 12thF# Minor Arpeggio: a 12thB Major Scale: 2 OctavesB Major Arpeggio: 2 OctavesB Harmonic Minor Scale: 2 OctavesB Melodic Minor Scale: 2 OctavesB Minor Arpeggio: 2 OctavesC Major Scale: 2 OctavesC Major Arpeggio: 2 OctavesC Harmonic Minor Scale: 2 OctavesC Melodic Minor Scale: 2 OctavesC Minor Arpeggio: 2 OctavesAb Major, Extended-Range ScaleAb Major, Extended-Range ArpeggioG Harmonic Minor, Extended-Range ScaleG Minor, Extended-Range ArpeggioA Major, 2 Octaves in 3rdsBb Major, 2 Octaves in 3rdsF# Chromatic: 2 OctavesB Chromatic: 2 OctavesC Chromatic: 2 OctavesWhole Tone Scale in B: 2 OctavesWhole Tone Scale in C: 2 OctavesDominant 7th in the key of Bb, Resolving on TonicDominant 7th in the key of B, 2 Octaves Resolving on TonicDominant 7th in the key of E, 2 Octaves Resolving on TonicDominant 7th in the Key of F, 2 Octaves Resolving on TonicDiminished 7th in F#: 2 OctavesDiminished 7th in B: 2 OctavesDiminished 7th in C: 2 Octaves.
$3.00
2.8 €
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Trumpet
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ABRSM
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Trumpet Scales Grade 8. For the new ABRSM Syllabus from 2023.
#
Tim Curd
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SheetMusicPlus
Trumpet Scales Grade 6. For the new ABRSM Syllabus from 2023.
Trumpet
B-Flat Trumpet Solo - Level 4 - Digital Download SKU: A0.1227793 Composed by ABRSM.…
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B-Flat Trumpet Solo - Level 4 - Digital Download SKU: A0.1227793 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 4 pages. Tim Curd #823756. Published by Tim Curd (A0.1227793). Trumpet Scales Grade 6. For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Cornet in Bb, Flugelhorn, Horn, Eb Horn, Baritone/Euphonium (treble clef), and Tuba (treble clef in Eb)Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed either tongued or slurred.The candidate will need to learn both harmonic and melodic minor scales.D Major Scale: a 12thD Major Arpeggio: a 12thD Harmonic Minor Scale: a 12thD Melodic Minor Scale: a 12thD Minor Arpeggio: a 12thEb Major Scale: a 12thEb Major Arpeggio: a 12thEb Harmonic Minor Scale: a 12thEb Melodic Minor Scale: a 12thEb Minor Arpeggio: a 12thG Major Scale: 2 OctavesG Major Arpeggio: 2 OctavesG Harmonic Minor Scale: 2 OctavesG Melodic Minor Scale: 2 OctavesG Minor Arpeggio: 2 OctavesAb Major Scale: 2 OctavesAb Major Arpeggio: 2 OctavesAb Harmonic Minor Scale: 2 OctavesAb Melodic Minor Scale: 2 OctavesAb Minor Arpeggio: 2 OctavesG# Harmonic Minor Scale: 2 OctavesG# Melodic Minor Scale: 2 OctavesG# Minor Arpeggio: 2 OctavesBb Major, 1 Octave in 3rdsG Chromatic: 2 OctavesAb Chromatic: 2 OctavesWhole Tone Scale in G: 2 OctavesWhole Tone Scale in Ab: 2 OctavesDominant 7th in the key of G, Resolving on TonicDominant 7th in the key of Ab, Resolving on TonicDominant 7th in the key of Db, Resolving on TonicDiminished 7th in G#: 2 Octaves.
$3.00
2.8 €
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Trumpet
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ABRSM
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Trumpet Scales Grade 6. For the new ABRSM Syllabus from 2023.
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Tim Curd
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SheetMusicPlus
Trumpet Scales Grade 7. For the new ABRSM Syllabus from 2023.
Trumpet
B-Flat Trumpet Solo - Level 5 - Digital Download SKU: A0.1227794 Composed by ABRSM.…
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B-Flat Trumpet Solo - Level 5 - Digital Download SKU: A0.1227794 Composed by ABRSM. Arranged by Tim Curd. Classical. Individual part. 4 pages. Tim Curd #823757. Published by Tim Curd (A0.1227794). Trumpet Scales Grade 7. For the new ABRSM Syllabus from 2023.These are the scales for the new 2023 and onwards brass syllabus. These scales can also be used for: Cornet in Bb, Flugelhorn, Horn, Eb Horn, Baritone/Euphonium (treble clef), and Tuba (treble clef in Eb)Please note that you can't use the old scales with the new syllabus or vice versa.The examiner will request the scales to be performed either legato tongued, staccato, or slurred.The candidate will need to learn both harmonic and melodic minor scales.Db Major Scale: a 12thDb Major Arpeggio: a 12thC# Major Scale: a 12thC# Major Arpeggio: a 12thC# Harmonic Minor Scale: a 12thC# Melodic Minor Scale: a 12thC# Minor Arpeggio: a 12thE Major Scale: a 12thE Major Arpeggio: a 12thE Harmonic Minor Scale: a 12thE Melodic Minor Scale: a 12thE Minor Arpeggio: a 12thA Major Scale: 2 OctavesA Major Arpeggio: 2 OctavesA Harmonic Minor Scale: 2 OctavesA Melodic Minor Scale: 2 OctavesA Minor Arpeggio: 2 OctavesBb Major Scale: 2 OctavesBb Major Arpeggio: 2 OctavesBb Harmonic Minor Scale: 2 OctavesBb Melodic Minor Scale: 2 OctavesBb Minor Arpeggio: 2 OctavesD Major, Extended-Range ScaleD Major, Extended-Range ArpeggioG Major, 2 Octaves in 3rdsA Chromatic: 2 OctavesBb Chromatic: 2 OctavesWhole Tone Scale in A: 2 OctavesWhole Tone Scale in Bb: 2 OctavesDominant 7th in the key of F#, Resolving on TonicDominant 7th in the key of A, Resolving on TonicDominant 7th in the key of D, Resolving on TonicDominant 7th in the Key of Eb, 2 Octaves Resolving on TonicDiminished 7th in A: 2 Octaves.Diminished 7th in Bb: 2 Octaves.
$3.00
2.8 €
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Trumpet
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ABRSM
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Trumpet Scales Grade 7. For the new ABRSM Syllabus from 2023.
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Tim Curd
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SheetMusicPlus
Be Thou Near Me - Processional or Offertory for Brass Quintet and Organ
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Ensemble - Level 4 - Digital Download SKU: A0.1005651 Composed by Rudy Volkma…
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Brass Ensemble - Level 4 - Digital Download SKU: A0.1005651 Composed by Rudy Volkmann. Contemporary. Score and parts. 19 pages. Rudy Volkmann #6121279. Published by Rudy Volkmann (A0.1005651). Written in a Baroque melodic and harmonic language, this is a fine piece for either a processional, recessional, or offertory. Lots of melodic interplay between the brass and the organ, as well as interesting countermelodies, keeps the interest up from beginning to end.
$30.00
28 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Rudy Volkmann
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Be Thou Near Me - Processional or Offertory for Brass Quintet and Organ
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Rudy Volkmann
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SheetMusicPlus
Die See Steht Nimmer Still (The Sea Is Never Still)
Choral SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.888255 Composed by Edward …
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.888255 Composed by Edward David Zeliff. Contemporary. Octavo. 12 pages. Edward David Zeliff #4765865. Published by Edward David Zeliff (A0.888255). This piece is a choral adaptation of an art song setting for soprano and piano of an original text in German contemplating the nature of the ever powerful ocean. The gentleman who wrote the original poetry did so in response to observing the waves breaking upon a rocky shoreline. There is an English text under the German that is a literal and exact translation of the original language and is so well worked out that the same exact music serves the text in both languages with syllabic stress and placement of words in the sentence. Thus it may be sung in either German or English with equal effect. This choral version is an enrichment of the vocal texture but with harmonic language derived from the original piano accompaniment. The piano accompaniment is identical to that of the art song and is somewhat challenging. The choral parts are not terribly difficult, but the difficulty is enhanced somewhat when sung in German. The constant ebb and flow of the sea as well as its power and majesty and mystery are evoked in this richly harmonic and strikingly melodic music.
$2.00
1.87 €
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Choral SATB
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Edward David Zeliff
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Die See Steht Nimmer Still
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Edward David Zeliff
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SheetMusicPlus
Of Loss, Life, and Love
Instrumental Duet High Voice,Instrumental Duet,Piano - Level 5 - Digital Download SKU: …
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Instrumental Duet High Voice,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.888263 Composed by Edward David Zeliff. Concert,Contemporary. Score and parts. 21 pages. Edward David Zeliff #4767315. Published by Edward David Zeliff (A0.888263). This song cycle on poetry of the American poet Walt Whitman deals with the pain and suffering of personal loss, the rejuvenation of the planet from the life-giving cycle of rain, and the exquisite experience of finding a long-sought love in a personal relationship. The music is richly melodic, colorfully harmonic with tonality that spreads chromatically through many tonal centers, and rhythmically alert and exciting to combine with the harmonic movement in a way that drives the music ever forward. It is probing, intense, celebratory, and profoundly moving. It is suitable for either soprano or tenor.
$10.00
9.33 €
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Edward David Zeliff
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Of Loss, Life, and Love
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Edward David Zeliff
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SheetMusicPlus
We Remember
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.888254 Composed by Edward …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.888254 Composed by Edward David Zeliff. Contemporary,Folk,Patriotic. Octavo. 11 pages. Edward David Zeliff #4765847. Published by Edward David Zeliff (A0.888254). This choral piece was a commission from a large semi-professional community chorus to honor a charter member who had recently passed away. The deceased had served the chorale nobly and honorably in several ways through his entire 20+ years of membership. Thus the text stresses honoring and remembering this fine man for all the things he did and for all the ways he continued to have meaning for the members. In addition to being an excellent piece to honor and remember a single male person (as per its original purpose), the text includes alternate wording that allows for its use in honor of a single female or a group of people. It is particularly effective for a memorial service, either private or public, a small or large occasion, or as a public tribute or means of honoring those who have sacrificed for others. It is hauntingly melodic and richly harmonic, and features a significant piano part that allows a good accompanist to make a special contribution during the performance.
$2.00
1.87 €
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Choral SATB
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Edward David Zeliff
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We Remember
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Edward David Zeliff
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SheetMusicPlus
Voyager
Instrumental Duet High Voice,Instrumental Duet,Piano - Level 5 - Digital Download SKU: …
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Instrumental Duet High Voice,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.888264 Composed by Edward David Zeliff. Concert,Contemporary. Score and parts. 32 pages. Edward David Zeliff #4767407. Published by Edward David Zeliff (A0.888264). This song cycle provides exciting and colorful settings of five different poems that deal with travel on the ocean under sail and the moods and environments of different exotic locales. The final movement, Destinations, is built up from poetry of Walt Whitman and evokes a strong imagery of how all of us are passengers on the same ship, the Earth, and all have the same destination, the end of life, and is a profoundly moving experience. The music is very modern yet very melodic and richly harmonic, very chromatic, but always with a sense of directionality. The piano accompaniment is much more than that, providing a real partnership to the singer. The music is suitable for either soprano or tenor.
$12.00
11.2 €
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Edward David Zeliff
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Voyager
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Edward David Zeliff
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SheetMusicPlus
Christmas Carols for Clarinet Duet
Clarinet
Clarinet Solo - Level 3 - Digital Download SKU: A0.913627 Composed by Traditional. …
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Clarinet Solo - Level 3 - Digital Download SKU: A0.913627 Composed by Traditional. Arranged by James Marshall. Christmas,Spiritual,World. Individual part. 6 pages. James Marshall Music #6142175. Published by James Marshall Music (A0.913627). These Christmas Carol duets for clarinet are for beginner to intermediate level.They were arranged from my teaching of beginner to developing stage woodwind students as a clarinetist/teacher. There are also sets for flute duet,and clarinet/saxophone duet.The lead melodic voice interchanges between the two voices. The parts are scored to utilize the full range of instrumental toneand create a harmonic mix in keys basic to the clarinet.First Clarinet is scored from low E to C3Second Clarinet is scored from low F# to G3Silent Night is in two sections: (inBb, concert pitch) ¾ slowly, reverently (in Ab) 6/8 spiritedO Come All Ye Faithful (in G for Clarinet)Away in a Manger (F for Clarinet)Joy to the World (in C) has optional first 4 measures- either melismatic, or unalteredWe wish you a merry Christmas (F)
$4.99
4.66 €
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Clarinet
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Traditional
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Christmas Carols for Clarinet Duet
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James Marshall Music
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SheetMusicPlus
Pi, Why?
Jazz combo
Jazz Combo - Digital Download SKU: A0.979629 Composed by Roger Aldridge. 20th Centu…
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Jazz Combo - Digital Download SKU: A0.979629 Composed by Roger Aldridge. 20th Century,Blues,Jazz. Score and parts. 1 pages. Roger Aldridge #427659. Published by Roger Aldridge (A0.979629). Pi, Why? is an unconventional blues that uses Pi (3.1415926....) as a sequence of melodic intervals. Do not let that scare you away -- the music swings. The structure of this 18-bar tune is based on 3-bar phrases and there is shifting time in places. The first 32 digits of Pi are used in this tune: 3.1415926535897932384626433832795. Here is how I converted the Pi numbers to melodic intervals: Simply, each number becomes an interval in relation to the root of the chord being used at the time. That is, the relationships change when the chords change. The intervals are natural or altered (b9, #9, #11, etc.) chord tones or higher tensions. For 3 on V7 chords, I use either natural 3 or minor 3 (enharmonically #9). The tune starts with the sequence of 3 (#9), 1, 4 (#11), 1, 5, 9 (b9) played twice with C7 (#9) and then transposed down a half-step for B7 (#9). The next sequence -- 2 (b9), 6, 5, 3 (natural), 5 -- is played with the Bb7 (#9) chord and so on through the rest of the 32-note sequence. While 3 is the first number of Pi, that is not why the tune is structured with 3-bar phrases. Simply, the 3-bar phrases felt natural and swinging to me. This tune has a strong blues flavor; however, it is not a conventional 12-bar blues in its structure or chord progression. The A part is 12 bars. Then, the B part is 6 bars with alternating 4/4 and 3/4 (one can think of it as 7/4). The B part also has a harmonic shift from V7 (#9) chords to V9 sus4 and major 7th chords. CONTACT: http://www.rogeraldridge.com/contact.html PRO: BMI WEBSITE: http://www.rogeraldridge.com/ DURATION: around 4:00 YEAR OF RELEASE: 1999.
$3.00
2.8 €
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Jazz combo
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Roger Aldridge
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Pi, Why?
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Roger Aldridge
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SheetMusicPlus
Entrainment (2009)
Instrumental Duet Instrumental Duet,Multi-Percussion,Oboe - Level 5 - Digital Download …
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Instrumental Duet Instrumental Duet,Multi-Percussion,Oboe - Level 5 - Digital Download SKU: A0.816703 Composed by Guy Bunce. Contemporary. Score and parts. 11 pages. Enigma Music #4984881. Published by Enigma Music (A0.816703). Entrainment (2009)Written for New NoiseOboe & PercussionEntrainment is the process by which two oscillating systems, which have different periods when they function independently, assume the same period when interacting. The principle of entrainment is universal, appearing in chemistry, pharmacology, biology, medicine, psychology, sociology, astronomy, architecture to name but a few.This piece explores the entrainment of tempo with two initially diverse tempo structures synchronising after a period of four minutes. At the start of the score the oboe begins at 137 bpm and the percussionist at 63 bpm. Over the course of the four minutes the percussionist speeds up whilst the oboist slows down resulting in the tempi synchronising at four minutes. After four minutes the two instruments begin a discourse in unison (rhythmically, melodically, and dynamically): the musical equivalent of total synchronisation. In the final section of the piece the parts diverge with the percussionist slowing down and the oboe part maintaining its speed.As with many of my pieces, the starting point for Entrainment was an external source, in this case the song Time by Pink Floyd. The rhythmic lines throughout Entrainment are based on the rhythm to the bass line of the first part of Time. This can be clearly seen in the opening in which the oboe part employs this rhythm.Harmonically Entrainment consists of a series of key centres whose period is determined by points within the four minutes where either of the two independent parts briefly synchronise at the semiquaver level with the unit of a second. At each of these points (which become more frequent as the piece progresses), the harmonic centre changes. The harmonic centres relate directly to the chord structure of Pink Floyd's Time: at each point where either part synchronises with seconds the harmonic centre in both parts moves one chord through Time's chord sequence. At 2' 19'' the percussion and oboe part synchronise (albeit briefly) for the first time. This event was used to mark the start of more polytonal harmony as both instruments from this point forward begin their own cycles through the Time chords. Throughout the piece, points of synchronisation are highlighted musically.Performance mp3 recordings that contain a dual click track for the first four minutes of the piece can be obtained by contacting guybunce@hotmail.com. The click track is arranged so that the oboe click is on the left channel and the percussion click is on the right. An alternative click track (track 3) is also provided using a different sound (a beep). The performers should wear the headphone in one ear which corresponds to the track of their part. The dual click track can then be played on a single CD player (or mp3 player) with the output going to both sets of headphones using a headphone splitter or other device. Alternatively, files can be put on either two iPods or Mp3 players. The players will then have to synchronize the beginnings of each track.It is possible to play the piece without the use of the click track(s). If this is the case, performers should use the metronome markings and general layout of the score to aid performance. It is advisable that one player (possibly the oboist) sets the tempo and tempo changes, and the other player follows.It was not always possible to represent accurately the relationship between the two parts in the score. Arrows have been added on the score to show points of synchronisation where the score layout differs.
$7.99
7.46 €
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Guy Bunce
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Entrainment
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Enigma Music
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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
Jacques Leguerney: String Quartet in D for two violins, viola and cello
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.5…
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 pages. Musik Fabrik Music Publishing #3457403. Published by Musik Fabrik Music Publishing (A0.534402). Jacques Leguerney (1906-1997) composed two string quartets. The Premier Quatuor à cordes was composed in 1925 during Leguerney??s private piano and composition study with French pianist Thérèse Cahen. His second quartet, subject of this publication by Musik Fabrik, was written between November 1947 and September 1948. The four movements are: I. Allegro moderato; II. Intermezzo; III. Scherzando; IV. Presto-Andantino. This work was, in part, Leguerney??s response to the Premier Quatuor à cordes (inédit) by his colleague, Henri Sauguet. Leguerney stated in a personal interview with Patrick Choukroun (18 May 1989) that: ??I wrote it a bit in opposition to Sauguet??s Premier Quatuor. It seemed to me that his quartet was without interest: just scratchings! I wanted to express my way of looking at it from the classical viewpoint of the past: it is almost in the spirit of Mozart, except for the harmonic language, of course. In fact, I wanted to fight against everything that has been done to a quartet since Beethoven??s last ones.? The premiere of the Quatuor à cordes en ré mineur was by the Quatuor Pro Arte at the Abbaye de Royaumont. Before this performance, Poulenc sent Leguerney the following note: ??Fortunate man for whom twelve strings are enough to charm people, I wish you good luck and respectfully embrace you.? (Handwritten letter, Reims, 4 September 1959). Leguerney was appointed artistic director of the Lumen recording company in 1951, and remained in this position until 1959. He produced four recordings of his music, including the Quatuor Pro Arte??s recording of the Quatuor à cordes en ré mineur (1947-1948) (Lumen, LD 2.440, 1958). This disc won the Grand Prix du Disque de l??Académie Charles Cros on 13 March 1959. The Pro Arte??s members were Suzanne Plazonich, Violin I; Chantal Beylier, Violin II; Nicole Gendreau, Viola; and Micheline Burtin, Cello. Francis Poulenc wrote to Leguerney concerning this recording: ??It is very good Leguerney. Of course, frivolous as I am and shall always remain, it is the 2nd movement that I prefer. Between us, I am like you: I prefer the scherzos after the andantes; that way one is not forced to write a Finale allegro. Yours pleases me very much, in fact, so to my ears it is III-IV-I-II, in the order of pleasure.? (Manuscript letter, Bagnols, 14 October 1959) The radio station France I broadcast the Quatuor with on 11 July 1959 on the program Schola of the series Concert de musique contemporaine, again with the Quatuor Pro Arte. An archive recording of this broadcast exists on magnetic tape. Critic Claude Rostand wrote: ??Jacques Leguerney does not seem to have looked for special innovations either in form or language. His basic thought seems especially to have written a quartet, that is to say on one hand to have used the four voices with elegance and originality, clarity and homogeneity (four-part writing seems to always have come naturally to him, even at the piano), and on the other hand to exploit all of the supple cushioning that can result from the caress of a bow on a string.? Critic Emile Vuillermoz wrote: ??His only ambition is to expresses clear and affectionate melodic ideas, in a highly distinguished, elegant and refined language, meaning an homage, in the beginning of our century, to the trios of the greatest stylists of our time. In fact, it is from the vocabulary of Fauré, Debussy and Ravel that he takes his grammar and syntax and that with which he carries out with his this harmonic writing that is both supple and sparse, that is so congenial to the association of four string instruments. This quartet, whose first movement is of a rare perfection, is a delicate enchantment.? The Musik Fabrik edition of the Quatuor à cordes en ré mineur is taken from a photocopy of the composer??s manuscript of the full score. We also had access to the quartet parts found in Leg.
$38.95
36.35 €
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String Quartet: 2 violins, viola, cello
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Jacques Leguerney
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II. Intermezzo
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Jacques Leguerney: String Quartet in D for two violins, viola and cello
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Musik Fabrik Music Publishing
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SheetMusicPlus
Amazing Grace
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.744630 Arranged by Arranged by Elen…
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Piano Solo - Level 3 - Digital Download SKU: A0.744630 Arranged by Arranged by Elena Fortin. Christian,Contemporary,Sacred,Spiritual. Score. 4 pages. Elena Fortin #6082835. Published by Elena Fortin (A0.744630). Amazing Grace - Intermediate piano solo Arranged by Elena FortinLately, I have been working on arrangements and videos of songs that I consider to be important either in the way they touch listeners, in how they are used, or if they have stood the test of time.Amazing Grace is a beautiful, traditional hymn with well-known lyrics penned by John Newton. The original hymn was published in 1779, with the words written in 1772. This piece is one of those songs that can be used for many different reasons. It is used in worship services, as a hymn of praise and faith, as celebration of life lived, and as a prayer of thanksgiving. My arrangement is for the intermediate player. The arrangement is simple, but should be played expressively. Each repetition of the hymn is slightly different, with the second repetition using the harmonic structure but introducing a new invented melody by me. (You can hum the melodic line of Amazing Grace over the top of this second repetition and you'll see what I mean!) The very last repetition is played allargando which means slightly slower, and more broadly. Enjoy those left hand octave notes and full chords! Please check out my website at https://www.the-piano-studio.com to keep up to date. If you would like to keep up with my new arrangements or videos, please subscribe to my YouTube Channel https://www.youtube.com/channel/UCFOzbMUgcFWlmG-nfHOT_Zg?view_as=subscriber If you enjoy this arrangement, please check out my other work on my Sheet Music Plus publisher page here: https://www.sheetmusicplus.com/search?Ntt=Elena+fortin
$4.99
4.66 €
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Piano solo
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Amazing Grace
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Elena Fortin
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SheetMusicPlus
Dr. Dorfinkle, I Pressume...
4 Bassoons
Bassoon quartet - Digital Download SKU: IZ.CMW201 Composed by Dave Deason. Score & …
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Bassoon quartet - Digital Download SKU: IZ.CMW201 Composed by Dave Deason. Score & Parts. 33 pages. Imagine Music - Digital #CMW201. Published by Imagine Music - Digital (IZ.CMW201). 9 x 12 in inches.This approximately four-minute piece is designed as a novelty piece, which works well either as an encore piece on a larger program, or as an addition to a regular program of bassoon pieces or mixed ensemble pieces. It features much humor with strong Jazz influence, particularly in the harmonic material. Technical demands are moderate, with only the first bassoon ascending to a high C. It works equally well when played by advanced high school students, college students, or even professional ensembles. All four players are given melodic material and are treated equally in a generally contrapuntal context, punctuated by some cool Jazz harmonies. The tempo should not be taken too fast but should be played in a relaxed but upbeat manner.Dr. Dornfinkle, I presume..... was premiered and recorded by the esteemed Breaking Winds Bassoon Ensemble.
$24.00
22.4 €
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4 Bassoons
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Dave Deason
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Dr. Dorfinkle, I Pressume...
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Imagine Music - Digital
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SheetMusicPlus
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