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Let French Horn and Piano
Not classified 115

Piano & keyboards
Piano Accompaniment 4
Piano solo 2

Piano, Voice 2
Piano, Vocal and Guitar 1
Easy Piano 1

Guitars

Voice
Choral SATB 3
Baritone voice, Piano 2
Choral Unison 1
Vocal duet 1
Choral 3-part 1

Woodwind
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 29
English horn, Piano 11
Flute, Oboe, Clarinet, Bassoon 10
Saxophone Quintet: 5 Saxophones 4
Saxophone Quartet: 4 saxophones 4

Flute, Clarinet and Bassoon. 4
Flute, Oboe, Bassoon 3
Tenor Saxophone and Piano 1
Alto Saxophone and Piano 1
Oboe, Piano (duet) 1
Clarinet Quartet: 4 clarinets 1

+ 6 instrumentations

- Retract

Woodbrass
French Horn and Piano 345
2 French horns (duet) 21
Brass Quartet: 2 trumpets, horn, trombone 15
French horn 13
Brass Quintet: 2 trumpets, horn, trombone, tuba 12

English horn, Piano 11
Trumpet, Horn (duert) 6
Trombone and Piano 2
French horn (band part) 2
Horn Ensemble 2
2 French horns, Piano 1
Brass Quartet 1
Euphonium, Piano (duet) 1
2 Euphoniums (duet) 1
Brass Quartet: 2 trumpets, 2 trombones 1
3 French horns (trio) 1
Tuba and Piano 1
Trumpet, Trombone (duet) 1

+ 13 instrumentations

- Retract

Strings
String Quintet: 2 violins, viola, cello, bass 4
String Quartet: 2 violins, viola, cello 4
Cello, Piano 1

Percussion & orchestra
Concert band 19
Orchestra 12
Brass ensemble 7
Chamber Orchestra 6
Jazz combo 3

Jazz Ensemble 3
Xylophone, Piano 1

+ 2 instrumentations

- Retract

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Let French Horn and Piano

Piano solo

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PIANO SONATA

PIANO SONATA #Piano solo #ADVANCED #Aaron Robinson #PIANO SONATA #Music at Immanuel #SheetMusicPlus

Piano Solo - Level 5 - Digital Download SKU: A0.1477723 Composed by Aaron Robinson. 20th Century,Classical. Score. 55 pages. Music at Immanuel #1055103. ...(+)

Piano Solo - Level 5 - Digital Download SKU: A0.1477723 Composed by Aaron Robinson. 20th Century,Classical. Score. 55 pages. Music at Immanuel #1055103. Published by Music at Immanuel (A0.1477723). Dedicated to pianist Eric Xi Xin Liang, PIANO SONATA by American composer Aaron Robinson is a programmatic work on a monumental scale. Composed in four movements representing four areas of Maine: Machigonne (Portland), Down East, Malaga Island and Katahdin, each paints a detailed portrait of a specific time and place in the State’s history. Its compositional structure draws heavily on the sights and sounds associated with each region while weaving original themes throughout. Mimesis is used to represent the native calls of the indigenous birds found within the state, such as the phoebe, bobolink and the pileated woodpecker; while hymns, songs and sea shanties are incorporated to represent various time periods. Movement I - MACHIGONNE - Native Americans originally named what is today the Portland peninsula of Maine “Machigonne”, which translates “Great Neck”. The movement quotes several sacred and ritual songs of the Passamaquoddy Tribe of Maine. The struggle between centuries of habitation by the native peoples of the area is represented by the arrival of early settlers and illustrated by juxtaposing hymn tunes and dance music of the past eras.Movement II - DOWN EAST - is the eastern coastal area of the state closely associated with the French territory of Acadia. Replete with historic sea shanties and tunes, the sound of tolling ship and buoy bells, lighthouse fog horns, and ocean winds are intertwined to create a high-spirited journey which culminates in the familiar Shaker tune from Alfred, Maine.Movement III - MALAGA ISLAND - Today an uninhabited reserve, Malaga Island was once the home to an interracial community dating from the 1860s to 1911, when its residents were forcibly evicted by the State. The opening theme represents the remnants of the island in its present state; haunted by the memories and unsettling muted solitude of the past and its historical injustice. A peaceful hymn depicting simpler times becomes slowly unraveled, erupting in a traumatic chaos that is never resolved. A ghostly refrain can be heard in the distance as the movement concludes.Movement IV - KATAHDIN - Mount Katahdin (“Catahdrin”), called “Great Mountain” by the Penobscot Native Americans, is located within the Northeast Piscataquis County, the northern terminus of the Appalachian Trail. The grandeur of its majesty is portrayed by the original themes depicting epic rising and falling passages traversing over centuries. Native Americans believed the mountain to be the home of the storm god Pamola (a place to be avoided), which is characterized by ever-changing major and minor keys within the often times turbulent motifs. The sonata ends in a tonal key: bringing the atonality and discordant change of the work and its representation as a whole to a final resolve.PIANO SONATA lasts approximately 25 minutes.

$9.99 ≈ ¥70.89

Madeleines

Madeleines #Piano solo #John Carbon #Madeleines #John Carbon #SheetMusicPlus

Piano Solo - Digital Download SKU: A0.966218 Composed by John Carbon. 20th Century,Contemporary. Score. 25 pages. John Carbon #3586217. Published by John...(+)

Piano Solo - Digital Download SKU: A0.966218 Composed by John Carbon. 20th Century,Contemporary. Score. 25 pages. John Carbon #3586217. Published by John Carbon (A0.966218). Composed in 2016, Madeleines is similar to my two sets of Spanish Lessons (1988 and 2001) which are both suites of character pieces for piano inspired by my admittedly limited travel in Spain. Madeleines is inspired by a much earlier hairbrained trip I took to France (and the rest of the Grand Tour) with my sister when I was in college. The title refers to Proust's episode of the madeleine, in which involuntary memory overwhelms the protagonist when he bites into one of these small cakes. I also sometimes experience poignant memories from our fondly remembered trip triggered by various catalysts. The five episodes in this set of pieces attempt to capture the essence of some of these memories. The first piece, MeÌmoire triste dans un cafeÌ (sad memory in a cafeÌ), serves the purpose of a preÌlude. One might conclude that the madeleine is sampled in this location. Il pleut aÌ Brest (It is raining in Brest) evokes memories of the wet weather in Brest, a city in Brittany near the coast. I was curious about this area because, during our travels, we met a boy in Paris with dark and dangerous eyes named FrancÌ§ois (FrancÌ§ois et ses yeux dangereux) who was from that area. In Il pleut the sound of rain alternates with church bells and fog horns (one of the poetic sensations I remember vividly about Brest). The third piece (FrancÌ§ois) is a blend of a barcarolle and a funeral march. I continued to send one-way letters to FrancÌ§ois after we returned and one day the French police called to tell me that he was dead and that they had found one of my letters on his body, which had been tossed into the Seine. They wanted more information, and they revealed that he had been smuggling drugs out of Turkey. I think the next piece, Promenade dans la meÌnagerie de Versailles (Walk in the zoo at Versailles), is tempered by later memories of a trip I took to the zoo at SchoÌˆnbrunn palace near Vienna, the oldest Baroque zoo, which was in a terrible state of decay when I saw it, hence the wistful air. The finale of the set, Madeleine deÌteste les devoirs (Madeleine hates homework) is a bow to the French primer I grew up with, which had as one of its main characters a little girl who I think may have been named Madeleine. I know her father was named FrancÌ§ois. My memories are mixed up, the actual FrancÌ§ois Thibaud is remembered as the inventor of the fast-track method of learning French, which was in vogue when I first studied it in 6th grade. The idea here is that Madeleine, the daughter of FrancÌ§ois, is having a tantrum and playing with her hoops or a bike rather than doing her English homework. --John Carbon

$6.99 ≈ ¥49.60