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Concerto for Alto Trombone and Orchestra
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Vous avez sélectionné:
Concerto for Alto Trombone and Orchestra
Partitions à imprimer
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Concerto for Alto Trombone and Orchestra
Concerto for Alto Trombone and Orchestra
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Orchestre
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AVANCÉ
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Wagenseil, Georg Christoph
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Sauer, Ralph
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Orchestra
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Concerto for Alto Trombone and
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Gordon Cherry
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.811000 Composed by Wagenseil, Georg Christoph. Arranged by Sauer, Ralph. Baroque,Classical,Renaissance,Romantic Perio...
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Full Orchestra - Level 5 - SKU: A0.811000 Composed by Wagenseil, Georg Christoph. Arranged by Sauer, Ralph. Baroque,Classical,Renaissance,Romantic Period. Score and Parts. 72 pages. Gordon Cherry #4726535. Published by Gordon Cherry (A0.811000). A beautiful performance edition of the Wagenseil Concerto for Alto Trombone & Orchestra. This version includes the full score and orchestra parts along with the solo Alto Trombone part including cadenzas. This version is sold in bound print format. Mr. Sauer, veteran Principal Trombone of the Los Angeles Philharmonic is a renowned editor of music for brass. You will not be disappointed in this edition.
$50.00 ≈
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AMADEUS suite - 3. Romanza K. 466 from PIANO CONCERTO in D minor
AMADEUS suite - 3. Romanza K. 466 from PIANO CONCERTO in D minor
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE
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Classique
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Wolfgang Amadeus Mozart
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Alessandro Macrì
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AMADEUS suite - 3. Romanza K.
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Music Macri Editions
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.931210 Composed by Wolfgang Amadeus Mozart. Arranged by Alessandro Macrì. Classical,Con...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.931210 Composed by Wolfgang Amadeus Mozart. Arranged by Alessandro Macrì. Classical,Concert,Graduation. Score and parts. 20 pages. Music Macri Editions #3640387. Published by Music Macri Editions (A0.931210). Il concerto per pianoforte e orchestra n. 20, KV 466, è una composizione di Wolfgang Amadeus Mozart, completata il 10 febbraio1785 a Vienna.Wolfgang Amadeus Mozart finì di comporre il Concerto per pianoforte e orchestra n. 20 in re minore K 466 il 10 febbraio 1785. Il giorno successivo lo eseguì come solista a Vienna in uno dei suoi concerti per abbonamento che, a quel tempo, avevano molto richiamo. Narra la leggenda che Mozart distribuì agli orchestrali le copie appena trascritte dell'ultimo movimento, al momento stesso di andare in scena. Il concerto si svolse nella sala Mehlgrube e vi parteciparono anche il padre Leopold, appositamente venuto da Salisburgo.L'Andante del secondo tempo è una romanza in 2/2 in forma ABACA. Come fa spesso, qui Mozart gioca di contrasti, espliciti e mascherati. Il primo contrasto è con il carattere del movimento che lo ha preceduto. Nell'inizio del secondo movimento il tema è sereno, apparentemente idilliaco e la tonalità solare (Si bemolle maggiore) lo conferma. È il tempo scelto (2/2) che ci fornisce il primo indizio sulle intenzioni dell'autore. A differenza di altri pezzi di grande lirismo il tempo non è un morbido ternario (3/4, 6/8), né un 4/4 con il suo respiro ampio ed il suo alternarsi di battere forti e smussati, ma un marziale 2/2. Il tema principale viene esposto dal solista, ripreso poco dopo dall'orchestra, passa dall'una all'altro con la solita maestria orchestrale mozartiana. Il secondo tema si presenta immediatamente con un salto di ottava ed intervalli ampi si ritrovano in tutto il suo svolgimento. È questo espediente più volte iterato che Mozart usa per costruire tensioni armoniche in crescendo che portano al minore e ad atmosfere già distanti dal primo tema. Con grazia sorprendente Mozart torna quindi sul primo tema per la seconda sezione. La terza sezione tematica precipita in minore, e questa volta con una serie di scale forsennate che richiamano alcuni passaggi dello sviluppo del primo movimento. Gli accordi verticali in forte (bisognerà aspettare Beethoven per i primi fortissimo) marcano di brusche fermate e riprese il rincorrersi delle scale. Un arpeggio rallentato e un arabesco riportano al tema principale che chiude questa pagina in un finto clima di riconciliazione, aprendo al frenetico finale.
$9.00 ≈
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Concerto for Alto Trombone with Piano accompaniment reduction
Concerto for Alto Trombone with Piano accompaniment reduction
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Trombone et Piano
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AVANCÉ
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Classique
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Gliere, Reinhold
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Cherry, Gordon
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Concerto for Alto Trombone wit
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Gordon Cherry
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SheetMusicPlus
Piano,Trombone - Level 5 - SKU: A0.792196 Composed by Gliere, Reinhold. Arranged by Cherry, Gordon. 20th Century,Classical,Romantic Period. Score and pa...
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Piano,Trombone - Level 5 - SKU: A0.792196 Composed by Gliere, Reinhold. Arranged by Cherry, Gordon. 20th Century,Classical,Romantic Period. Score and part. 35 pages. Gordon Cherry #4609007. Published by Gordon Cherry (A0.792196). Reinhold Gliere's Concerto for Coloratura Soprano and Orchestra, Op. 82 was written in 1942-1943 and shows off the composer's gentle melodic musical style reminiscent of Tchaikovsky, Rachmaninov and even Wagner. The choice of a vocal soloist singing without words was not new at that time, as Rachmaninov's beautiful Vocalise had already been composed. But....adding a full orchestra to the mix was a gamble that paid off, as this is one of Gliere's finest works. The Concerto consists of two movements -- Andante and Allegro and is about 14 minutes in length. The 1st movement's rich melodies are full of lush harmonic textures and the work drives from climax to climax. The finale Allegro is lighthearted and bounces along merrily to the end. Gordon Cherry's arrangement for Alto Trombone with Piano accompaniment reduction brings a major new work to the Alto Trombone repertoire. This work can also be performed on the Tenor Trombone, however, the style of the work makes it perfect for the Alto Trombone. Appropriate for advanced performers. (Under license from G. Schirmer Music)
$35.00 ≈
¥254.52
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - 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 ≈
¥174.45
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Focus on Grace ... A concerto
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score and parts. 73 pag...
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Full Orchestra - Level 4 - SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #15875. Published by Thomas Oboe Lee (A0.869355). Instrumentation: solo alto saxophone & 2222-4231-perc-drumset-strings. Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99 ≈
¥72.65
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
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Thomas Oboe Lee
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Focus on Grace ... A concerto
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Thomas Oboe Lee
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SheetMusicPlus
Small Ensemble - Level 4 - SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and parts. 73 pages. ...
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Small Ensemble - Level 4 - SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #2019061. Published by Thomas Oboe Lee (A0.869266). Instrumentation: Alto sax solo and orchestra, 2222-4231-perc-drum set-strings Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99 ≈
¥72.65
Shadow in a harlequin (Concertino for Alto Saxophone and Wind Ensemble) - Score Only
Shadow in a harlequin (Concertino for Alto Saxophone and Wind Ensemble) - Score Only
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Masakazu YAMAMOTO
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Shadow in a harlequin
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Motch Music
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1339375 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 31 pages. Motch Music #925066. Publi...
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Concert Band - Level 4 - SKU: A0.1339375 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 31 pages. Motch Music #925066. Published by Motch Music (A0.1339375). Original work by Masakazu Yamamoto.Concerto for solo alto saxophone and small wind ensemble. Composed in 2017. It premiered at the annual concert 2017 of the Japan Wind Ensemble (Momotaro Band).This work was commissioned by Keiko Kobayashi (the chief conductor of the orchestra) and Atsushi Nishimoto (chief concertmaster and saxophone player of the orchestra) and Musica Eterna LLC. Harlequin, a popular person who entertains people. Dressed in a quirky costume, what does he think under that makeup? Even if you indulge in thought or shed tears without knowing it, you have to continue playing the clown on the stage for the expectations of the audience. The composition seems to be the relationship between an individual and society, and it also applies to the relationship between solo and the band in this work. Duration: 9', Grade 4 (band only)[Instrumentation] Flutes (2) 1st also piccolo Oboe (1) Bb Clarinets (3) 3rd also Eb Clarinet Bb Bass Clarinet (1) Eb Alto Saxophones (2) Bb Tenor Saxophone (1) Bb Trumpets (2) F Horn (1) Trombone (1) Euphonium (1) Tuba (1) Percussion (1) Claves, Snare Drum, Triangle, Shaker, Suspended Cymbal  Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english
$50.00 ≈
¥363.60
Shadow in a harlequin (Concertino for Alto Saxophone and Wind Ensemble)
Shadow in a harlequin (Concertino for Alto Saxophone and Wind Ensemble)
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Masakazu YAMAMOTO
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Shadow in a harlequin
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Motch Music
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1339368 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 85 pages. Motch Music #925059. Publi...
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Concert Band - Level 4 - SKU: A0.1339368 Composed by Masakazu YAMAMOTO. 21st Century,Contemporary,Contest,Festival. 85 pages. Motch Music #925059. Published by Motch Music (A0.1339368). Original work by Masakazu Yamamoto.Concerto for solo alto saxophone and small wind ensemble. Composed in 2017. It premiered at the annual concert 2017 of the Japan Wind Ensemble (Momotaro Band).This work was commissioned by Keiko Kobayashi (the chief conductor of the orchestra) and Atsushi Nishimoto (chief concertmaster and saxophone player of the orchestra) and Musica Eterna LLC. Harlequin, a popular person who entertains people. Dressed in a quirky costume, what does he think under that makeup? Even if you indulge in thought or shed tears without knowing it, you have to continue playing the clown on the stage for the expectations of the audience. The composition seems to be the relationship between an individual and society, and it also applies to the relationship between solo and the band in this work. Duration: 9', Grade 4 (band only)[Instrumentation] Flutes (2) 1st also piccolo Oboe (1) Bb Clarinets (3) 3rd also Eb Clarinet Bb Bass Clarinet (1) Eb Alto Saxophones (2) Bb Tenor Saxophone (1) Bb Trumpets (2) F Horn (1) Trombone (1) Euphonium (1) Tuba (1) Percussion (1) Claves, Snare Drum, Triangle, Shaker, Suspended Cymbal  Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english Â
$200.00 ≈
¥1454.39
Piano Concerto Nº 1 Op. 24 - Score Only
Piano Concerto Nº 1 Op. 24 - Score Only
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Orchestre
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AVANCÉ
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Classique
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Fabio Henrique Teles Martins
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Fabio Henrique Teles Martins
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Piano Concerto Nº 1 Op. 2
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Fabio Dentello
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1194366 By Fabio Henrique Teles Martins. By Fabio Henrique Teles Martins. Arranged by Fabio Henrique Teles Martins. 1...
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Full Orchestra - Level 5 - SKU: A0.1194366 By Fabio Henrique Teles Martins. By Fabio Henrique Teles Martins. Arranged by Fabio Henrique Teles Martins. 19th Century,Classical,Romantic Period. 176 pages. Fabio Dentello #793738. Published by Fabio Dentello (A0.1194366). This piano concerto is one of the most important pieces that I will be published in 2023. It has an atypical instrumentation for an early romantic piano concerto, including three trombones (alto, tenor, and basso) and a contrabassoon. Structurally, it is divided into three movements typical of a classical-romantic concerto, with the first in sonata form, the second in a ternary form that I have developed since my first symphony, and a Rondo as the final movement.
$150.00 ≈
¥1090.79
Concerto for Clarinet K.622 (2nd mvt) Adagio by Mozart
Concerto for Clarinet K.622 (2nd mvt) Adagio by Mozart
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Orchestre
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Classique
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Wolfgang Amadeus Mozart
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Stephen McLoughlin
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Concerto for Clarinet K.622
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Stephen McLoughlin
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SheetMusicPlus
Full Orchestra - SKU: A0.932279 Composed by Wolfgang Amadeus Mozart. Arranged by Stephen McLoughlin. Classical. Score and parts. 31 pages. Stephen McLou...
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Full Orchestra - SKU: A0.932279 Composed by Wolfgang Amadeus Mozart. Arranged by Stephen McLoughlin. Classical. Score and parts. 31 pages. Stephen McLoughlin #5286267. Published by Stephen McLoughlin (A0.932279). Arranged for full orchestra, including flutes, clarinets (with separate solo clarinet part), alto & tenor saxophones, trumpets, trombones, tuba & strings. .
$19.99 ≈
¥145.37
Five Mighty Meaty Morsels From Johann Georg Albrechtsberger for Clarinet Quartet.
Five Mighty Meaty Morsels From Johann Georg Albrechtsberger for Clarinet Quartet.
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Quatuor de Clarinettes: 4 clarinettes
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Johann Georg Albrechtsberger
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Stephen Davies
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Five Mighty Meaty Morsels From
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Stephen Davies
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SheetMusicPlus
Clarinet - SKU: A0.1071010 Composed by Johann Georg Albrechtsberger. Arranged by Stephen Davies. Classical,Standards. Full Performance. Duration 746. St...
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Clarinet - SKU: A0.1071010 Composed by Johann Georg Albrechtsberger. Arranged by Stephen Davies. Classical,Standards. Full Performance. Duration 746. Stephen Davies #5725759. Published by Stephen Davies (A0.1071010). The Austrian composer Johann Georg Albrechtsberger was an organist, teacher and theorist, indeed one of his many influential pupils was a certain Ludwig Van Beethoven. His own musical works were and still are a tour-de-force and widely recorded. In fact his Alto Trombone Concerto is very much a part of the repertoire for that instrument. He also wrote, what might be today regarded as quite strange, no less than 7 Concerti for the Jaws Harp and String Orchestra. The 5 pieces here are representative of his masterly fugal output, tweaked here and there to suit the Clarinet Quartet format! Five Meaty Morsels, suitable for Vegans and Vegetarians alike!! Also available in Saxophone Quartet flavour...... 3 Sopranos and Tenor!
$1.99 ≈
¥14.47
Concerto For Clarinet
Concerto For Clarinet
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Jazz
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Artie Shaw
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Edited Robert C
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Concerto For Clarinet
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Robert C. Olivia
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1403422 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 214 pages. Robert C. Olivia #9866...
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Chamber Orchestra - Level 5 - SKU: A0.1403422 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 214 pages. Robert C. Olivia #986632. Published by Robert C. Olivia (A0.1403422). This edition of the Artie Shaw Concerto for Clarinet is a note for note transcription of what Shaw’s band with strings played on the record version and in the motion picture. In addition to the big band & string parts here, also available is the companion conductor score and solo clarinet part. This edition restores many elements missing in other versions available. The strings here are restored to the original voicings so important to the style of the classic sound of the period. The solos are transcribed note for note as played by greats such as Billy Butterfield on Trumpet, Johnny Guarnieri on Piano, Les Robinson on Alto Sax, Jerry Jerome on Tenor Sax, Vernon “Brownie†Brown on Trombone. There is an entire sax riff that was extemporaneously improvised during the session that is missing entirely in other published versions. The instrumentation is also restored to only the instruments that were used in Shaw’s recordings. There are many details that help the ease of performability of the genre and gesture of jazz idiom. Lastly, the intention is that this should be performed with saxophones. However, there are optional parts for clarinets and bassoons that can be used only if saxes are not available.
$200.00 ≈
¥1454.39
Concerto For Clarinet - Score Only
Concerto For Clarinet - Score Only
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Jazz
#
Artie Shaw
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Edited Robert C
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Concerto For Clarinet - Score
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Robert C. Olivia
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1403494 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 68 pages. Robert C. Olivia #98667...
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Chamber Orchestra - Level 5 - SKU: A0.1403494 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 68 pages. Robert C. Olivia #986671. Published by Robert C. Olivia (A0.1403494). This edition of the Artie Shaw Concerto for Clarinet is a note for note transcription of what Shaw recorded on the record version and in the motion picture. Shaw’s solos as played in both the motion picture and record version are represented in great detail with the film solo shown as ossia so the player can view and choose which they might prefer to play. Techniques are carefully detailed to show ornaments, slurs, accents etc. This edition restores many elements missing in other versions available. The strings here are restored to the original voicings so important to the style of the classic sound of the period.The solos are transcribed note for note as played by greats such as Billy Butterfield on Trumpet, Johnny Guarnieri on Piano, Les Robinson on Alto Sax, Jerry Jerome on Tenor Sax, Vernon “Brownie†Brown on Trombone.There is an entire sax riff that was extemporaneously improvised during the session that is missing entirely in other published versions. The instrumentation is also restored to only the instruments that were used in Shaw’s recordings. There are many details that help the ease of performability of the genre and gesture of jazz idiom. Lastly, the intention is that this should be performed with saxophones. However, there are optional parts for clarinets and bassoons that can be used only if saxes are not available.
$35.00 ≈
¥254.52
Five Mighty Meaty Morsels From Johann Georg Albrechtsberger for Sax Quartet (3 Sopranos/1 Tenor)
Five Mighty Meaty Morsels From Johann Georg Albrechtsberger for Sax Quartet (3 Sopranos/1 Tenor)
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Johann Georg Albrechtsberger
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Stephen Davies
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Five Mighty Meaty Morsels From
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Stephen Davies
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet - Level 4 - SKU: A0.891935 Composed by Johann Georg Albrechtsberger. Arranged by Stephen Davies. Classical,Standards....
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Woodwind Ensemble,Woodwind Quartet - Level 4 - SKU: A0.891935 Composed by Johann Georg Albrechtsberger. Arranged by Stephen Davies. Classical,Standards. 63 pages. Stephen Davies #5310999. Published by Stephen Davies (A0.891935). The Austrian composer Johann Georg Albrechtsberger was an organist, teacher and theorist, indeed one of his many influential pupils was a certain Ludwig Van Beethoven. His own musical works were and still are a tour-de-force and widely recorded. In fact his Alto Trombone Concerto is very much a part of the repertoire for that instrument. He also wrote, what might be today regarded as quite strange, no less than 7 Concerti for the Jaws Harp and String Orchestra. (Youtube) In this Saxophone version the music is scored, unusually, for 3 equal Soprano Saxes AND Tenor Sax. The 5 pieces here are representitive of his masterly fugal output, tweaked here and there to suit this rare Saxophone Quartet format! Five Mighty Meaty Morsels, suitable for Vegans and Vegetarians alike!! (Although every care has been taken, some E#'s may remain!)
$19.99 ≈
¥145.37
Concerto For Clarinet
Concerto For Clarinet
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Artie Shaw
#
Edited Robert C
#
Concerto For Clarinet
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Robert C. Olivia
#
SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1433339 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 176 pages. Robert C. Olivia #1013...
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Chamber Orchestra - Level 5 - SKU: A0.1433339 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 176 pages. Robert C. Olivia #1013630. Published by Robert C. Olivia (A0.1433339). This edition of the Artie Shaw Concerto for Clarinet is a note for note transcription of what Shaw recorded on the record version and in the motion picture. These are the parts for the big band and strings. Shaw’s solos as played in both the motion picture and record version are represented in great detail with the film solo shown as ossia so the player can view and choose which they might prefer to play. Techniques are carefully detailed to show ornaments, slurs, accents etc. This edition restores many elements missing in other versions available. The strings here are restored to the original voicings so important to the style of the classic sound of the period.The solos are transcribed note for note as played by greats such as Billy Butterfield on Trumpet, Johnny Guarnieri on Piano, Les Robinson on Alto Sax, Jerry Jerome on Tenor Sax, Vernon “Brownie” Brown on Trombone.There is an entire sax riff that was extemporaneously improvised during the session that is missing entirely in other published versions. The instrumentation is also restored to only the instruments that were used in Shaw’s recordings. There are many details that help the ease of performability of the genre and gesture of jazz idiom. Lastly, the intention is that this should be performed with saxophones. However, there are optional parts for clarinets and bassoons that can be used only if saxes are not available.
$200.00 ≈
¥1454.39
3. Rondo
3. Rondo
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Preston D King
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3. Rondo
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Preston D. King
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SheetMusicPlus
Orchestra Alto Saxophone,Baritone Saxophone,Bass Guitar,Cello,Clarinet,Drum Set,Flute,Horn,Piano and Keyboard,Tenor Saxophone,Trombone,Trumpet,Viola,Violin - Le...
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Orchestra Alto Saxophone,Baritone Saxophone,Bass Guitar,Cello,Clarinet,Drum Set,Flute,Horn,Piano and Keyboard,Tenor Saxophone,Trombone,Trumpet,Viola,Violin - Level 5 - Interactive Download SKU: A0.612869 Composed by Preston D King. This edition: Interactive Download. Blues,Classical,Jazz. Score and parts. 39 pages. Duration 165. Preston D. King #2DVHuoboa7mgmDCwAIs94l. Published by Preston D. King (A0.612869). Key: A major.This is the third movement of my Concerto for Horn.
$20.00 ≈
¥145.44
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Concerto for Alto Trombone and Orchestra
