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Five Note Concerto:
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You've selected:
Five Note Concerto:
Sheetmusic to print
43 sheet music found
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1
26
Five-Note Concerto: 1st B-flat Trumpet
Five-Note Concerto: 1st B-flat Trumpet
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Concert band
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John O'Reilly
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Five-Note Concerto: 1st B-flat
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - Digital Download SKU: AX.00-PC-0000797_T1 1st B-flat Trumpet. Composed by John O'Reilly. Instructional. Part. 1 pages. Alfred Music...
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Concert Band - Digital Download SKU: AX.00-PC-0000797_T1 1st B-flat Trumpet. Composed by John O'Reilly. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000797_T1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000797_T1). UPC: 038081274409.Here's the perfect piece for showcasing your beginners at their first concert. Each section of the band gets to shine as they play a familiar five note song with very light accompaniment. Songs included are Mary Had A Little Lamb, Lightly Row, Go Tell Aunt Rhodie and Hot Cross Buns. The whole band plays a three part rendition of Donkey Round for the grand finale. Correlated with Accent on Achievement, Book 1, page 9.
$3.00 ≈
2.71€
Five-Note Concerto: 1st Percussion
Five-Note Concerto: 1st Percussion
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Concert band
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Instructional
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John O'Reilly
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Five-Note Concerto: 1st Percus
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - Digital Download SKU: AX.00-PC-0000797_PC1 1st Percussion. Composed by John O'Reilly. Instructional. Part. 1 pages. Alfred Music - ...
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Concert Band - Digital Download SKU: AX.00-PC-0000797_PC1 1st Percussion. Composed by John O'Reilly. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000797_PC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000797_PC1). UPC: 038081274409.Here's the perfect piece for showcasing your beginners at their first concert. Each section of the band gets to shine as they play a familiar five note song with very light accompaniment. Songs included are Mary Had A Little Lamb, Lightly Row, Go Tell Aunt Rhodie and Hot Cross Buns. The whole band plays a three part rendition of Donkey Round for the grand finale. Correlated with Accent on Achievement, Book 1, page 9.
$3.00 ≈
2.71€
Five-Note Concerto: B-flat Tenor Saxophone
Five-Note Concerto: B-flat Tenor Saxophone
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Concert band
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Instructional
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John O'Reilly
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Five-Note Concerto: B-flat Ten
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - Digital Download SKU: AX.00-PC-0000797_TX1 B-flat Tenor Saxophone. Composed by John O'Reilly. Instructional. Part. 1 pages. Alfred ...
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Concert Band - Digital Download SKU: AX.00-PC-0000797_TX1 B-flat Tenor Saxophone. Composed by John O'Reilly. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0000797_TX1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0000797_TX1). UPC: 038081274409.Here's the perfect piece for showcasing your beginners at their first concert. Each section of the band gets to shine as they play a familiar five note song with very light accompaniment. Songs included are Mary Had A Little Lamb, Lightly Row, Go Tell Aunt Rhodie and Hot Cross Buns. The whole band plays a three part rendition of Donkey Round for the grand finale. Correlated with Accent on Achievement, Book 1, page 9.
$3.00 ≈
2.71€
Five Irish Pieces by Carolan for Guitar
Five Irish Pieces by Carolan for Guitar
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Guitar notes and tablatures
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INTERMEDIATE/ADVANCED
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Turlough O'carolan
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Jerry D Willard
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II.
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Five Irish Pieces by Carolan f
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Jerry Willard
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SheetMusicPlus
Guitar - Level 4 - Digital Download SKU: A0.1197853 Composed by Turlough O'carolan. Arranged by Jerry D Willard. Baroque,Celtic,Classical,Early Music,His...
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Guitar - Level 4 - Digital Download SKU: A0.1197853 Composed by Turlough O'carolan. Arranged by Jerry D Willard. Baroque,Celtic,Classical,Early Music,Historic,Irish. Guitar Tab. 25 pages. Jerry Willard #797031. Published by Jerry Willard (A0.1197853). Five pieces by Turlough O'Carolan written for the Irish harp arranged for classical guitar by Jerry Willard. Carolan's Concerto, Carolan's Farewell to Music, Captain Kane, Sir Arthur Shean, and Mrs. Maxwell I & II.
$20.00 ≈
18.04€
Concertos for Five Beethoven Piano Concerto in G, arr. for String Quartet, 3rd mvnt. Piano Solo part
Concertos for Five Beethoven Piano Concerto in G, arr. for String Quartet, 3rd mvnt. Piano Solo part
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Beethoven, L
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Michael Bomier
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Concertos for Five Beethoven P
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Michael Butkus-Bomier
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SheetMusicPlus
Piano Quintet,String Ensemble Piano - Level 4 - Digital Download SKU: A0.862637 Composed by Beethoven, L. van. Arranged by Michael Bomier. Concert,Romant...
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Piano Quintet,String Ensemble Piano - Level 4 - Digital Download SKU: A0.862637 Composed by Beethoven, L. van. Arranged by Michael Bomier. Concert,Romantic Period,Standards. Score and parts. 16 pages. Michael Butkus-Bomier #3001109. Published by Michael Butkus-Bomier (A0.862637). Concertos for Five presents Beethoven's Piano Concerto No.4 in G major, arranged for string quartet and piano solo. This listing is for the 3rd mvnt. piano solo part only. The composer's cadenza is used here, and integrated into the score. This piano part can be used for any soloist who wishes to utilize the Beethoven cadenzas. Please, set your printer to double-sided. ALL original notes, all ornamentation fully notated for complete unambiguous renditions. MBB.
$6.00 ≈
5.41€
Concertos for Five Beethoven Piano Concerto in G maj, 1st mvnt, arr for String Quartet Piano part on
Concertos for Five Beethoven Piano Concerto in G maj, 1st mvnt, arr for String Quartet Piano part on
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Beethoven, L
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Michael Bomier
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Concertos for Five Beethoven P
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Michael Butkus-Bomier
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SheetMusicPlus
Piano Quintet,String Ensemble Piano - Digital Download SKU: A0.862632 Composed by Beethoven, L. van. Arranged by Michael Bomier. Concert,Romantic Period,...
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Piano Quintet,String Ensemble Piano - Digital Download SKU: A0.862632 Composed by Beethoven, L. van. Arranged by Michael Bomier. Concert,Romantic Period,Standards. Score and parts. 24 pages. Michael Butkus-Bomier #3000695. Published by Michael Butkus-Bomier (A0.862632). Concertos for Five is a new series from GateWay Editions. Piano concertos have been arranged with the original solo part and the composer's original cadenzas, with string quartet instead of full orchestra. This listing is for the piano solo part only. Please, set your printer to double-sided when downloading. The score is ALL Beethoven's original notes, with ALL ornamentation fully notated out. Suitable for use by any pianist who intends to use the Beethoven cadenzas. 28 ppgs. MBB.
$8.00 ≈
7.22€
Concerto for Orchestra, opus 111 (2005, rev. 2010)
Concerto for Orchestra, opus 111 (2005, rev. 2010)
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Orchestra
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Concerto for Orchestra, opus 1
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Scor...
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Full Orchestra - Level 4 - Digital Download SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 pages. Thomas Oboe Lee #15869. Published by Thomas Oboe Lee (A0.869351). Instrumentation: 3232-4331-timp-2perc-strings. When I received the invitation from Jonathan Cohler to write a Concerto for Orchestra for the Brockton Symphony, I immediately thought of all the composers who wrote works inspired by Bartok’s seminal work of the same title: Roger Sessions, Elliott Carter, Michael Tippett, Witold Lutoslawski, Joan Tower and, most recently, Jennifer Higdon. My Concerto for Orchestra, opus 111, is in five movements. It will be heard without pause between movements. I. Largo … Misterioso! II. Allegro con moto … Evidence!!! III. Adagio … Epistrophy! IV. Andante … In Walked Bud! V. Presto … Rhythm-a-ning!!! My initial idea for the Concerto was contrast - contrast between the timbres and colors that the various sections in an orchestra provide. For example, the woodwinds would provide a sharp contrast against the brass; the percussion section against the strings, etc. I also was interested in writing a work where each movement would flow into the next without pause – thus providing another form of contrast, that of tempi and mood change. A third form of contrast would be the different styles and forms of music that I would come up with. And I had a lot of fun conjuring up the many possible scenarios and orchestral tableaux. I actually started with the second movement: the Allegro con moto. I wanted something that had a nice surging quality that the whole orchestra could jump into. When I finished that, I thought perhaps it would be too intense for the opening of the work. I thought, maybe I should begin with something slower, more brooding in nature before the explosive stuff. I noticed that Carter’s Concerto began with a slow Introduction. It had a title: Misterioso. Being an avid fan of Thelonious Monk, aka Thelonious Sphere Monk, Misterioso brought to mind a Monk composition of the same title. That epiphany gave me the idea of naming each of the five movements after a Monk tune. Monk’s Misterioso is a blues with an insistent theme of 8th note patterns of rising 6ths; which has nothing to do with my first movement. My Misterioso features a solo for the bass clarinet in the midst of a shimmering atmosphere that is punctuated by accents in the bass. They are both mysterious, but divergently opposed in mood and substance. Monk’s Evidence is a tune with jabs and punches, irregularly placed within the measure – not unlike what I did in the second movement. This movement is perhaps the most Monk-ish of all. Monk’s Epistrophy is a tune constructed with a four-note pattern that is angular and twisted. I wrote a solemn brass choir movement that is an epistle in nature, a sermon of sorts. The title of Monk’s In Walked Bud refers, of course, to the amazing pianist Bud Powell. I took the word walk and translated it into an andante. What resulted was a silly, but jolly movement featuring the woodwinds. I wanted to end the work with a fast and furious finale. Inspired by the word rhythm in Monk’s Rhythm-a-ning, I began the last movement with a solo for the percussion section – timpani, tom-toms, bass drum!!! The orchestra eventually joins in the mayhem, breaking into a scherzo-like frenzy. It ends with a big bang!!! Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/concerto-for-orchestra-opus-111-2005
$9.99 ≈
9.01€
Violin Concerto, opus 129 (2009) for violin solo and orchestra
Violin Concerto, opus 129 (2009) for violin solo and orchestra
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Violin
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Violin Concerto, opus 129
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Thomas Oboe Lee
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SheetMusicPlus
Violin Solo - Level 4 - Digital Download SKU: A0.869285 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. 148 pag...
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Violin Solo - Level 4 - Digital Download SKU: A0.869285 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. 148 pages. Thomas Oboe Lee #33805. Published by Thomas Oboe Lee (A0.869285). Instrumentation: violin solo & orchestra, 2222-4231-timp-hp-strings Program note. I first heard Irina Muresanu, maybe five years ago, with the Boston Trio in Jordan Hall at the New England Conservatory of Music in Boston, Massachusetts. I was impressed from the very first note she played on her violin. Subsequently I heard her in a chamber music duo recital with pianist Ya-fei Chuang at the Harvard-Epworth Church in Cambridge, Massachusetts. I remember saying to myself, Wow, she has a big, warm sound! One day I would love to write a violin concerto for her! Last year I heard her play the Brahms and the Tchaikovsky violin concerti on separate occasions with the Lexington Symphony and the Boston Classical Orchestra. It was that wow factor again … When I proposed to write a violin concerto for Max Hobart and the Boston Civic Symphony Orchestra, he asked me who I would like to feature as the soloist. I said Irina Muresanu. Max said it was a fabulous choice since he has been thinking of engaging Irina to play with the Civic for some time. Over the past summer I indulged myself in a buying spree of scores and CD recordings of violin concerti. Many composers’ works stood out: concerti by Brahms, Mendelssohn, Sibelius, Stravinsky, Elgar, Prokofiev, Shostakovich, Saint-Saëns, Dvorak, Paganini, Glazunov, Dohnanyi, Nielsen, Spohr, etc. And of course, I did not ignore the gems by Bach and Mozart! The listening to and research of all these concerti masterpieces were quite overwhelming, to say the least. So, by the time I was ready to begin work on my Concerto, I had to put all those scores and CDs aside and begin to find the music in my head. I must confess that it took a while. But eventually I found the seed that brought everything together. And within six weeks, between late September and early November, I completed the short score of the concerto. The orchestration took approximately ten days and the complete work was done on November 21st, 2009. My Violin Concerto, opus 129, is in two parts. Each part consists of a slow section that is followed by a fast one. Part I: Largo, Moderato, Allegro ma non troppo. Part II: Largo, Adagio, Prestissimo. Enjoy!! Audio link: https://thomasoboelee.bandcamp.com/album/violin-concerto-2009.
$9.99 ≈
9.01€
Concerto for Five Musicians
Concerto for Five Musicians
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William Smith
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Glockenspiel), Piano &
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Concerto for Five Musicians
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William Smith
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SheetMusicPlus
Mixed Percussion B-Flat Bass Clarinet,B-Flat Clarinet,Bass Drum,Double Bass,Glockenspiel,Mallet Percussion,Marimba,Piano,Snare Drum,Suspended Cymbal,Tam Tam,Xyl...
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Mixed Percussion B-Flat Bass Clarinet,B-Flat Clarinet,Bass Drum,Double Bass,Glockenspiel,Mallet Percussion,Marimba,Piano,Snare Drum,Suspended Cymbal,Tam Tam,Xylophone - Level 5 - Digital Download SKU: A0.1216467 Composed by William Smith. Chamber,Classical,Contemporary,Wedding. 39 pages. William Smith #813063. Published by William Smith (A0.1216467). This is a chamber work featuring five players play 5 different instruments, Bb Clarinet, Bass Clarinet, Percussion (Tam-Tam, Bass Drum, Marimba, Xylophone, Suspended Cymbal, Snare Drum & Glockenspiel), Piano & Double Bass. It is recomended advanced groups looking to advance their skill. The heavily features each instrument getting them all to show off what they can do. If you're up for the challenge this is an essential work for any chamber group. Please Note:Included recording is a MIDI meaning it was played by a computer, this does not fully represent the work but still gives a good idea as to what to expect.Score + Separate parts are included.
$25.00 ≈
22.55€
Vivaldi Concerto in C Major for Guitar
Vivaldi Concerto in C Major for Guitar
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Chamber Orchestra
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INTERMEDIATE
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Classical
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Antonio Vivaldi
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Robert E
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Vivaldi Concerto in C Major fo
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R. E. Proctor
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.809758 Composed by Antonio Vivaldi. Arranged by Robert E. Proctor. Baroque,Contemporary. Score and...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.809758 Composed by Antonio Vivaldi. Arranged by Robert E. Proctor. Baroque,Contemporary. Score and parts. 78 pages. R. E. Proctor #2907309. Published by R. E. Proctor (A0.809758). Concerto in C Major – Vivaldi This is an expanded version of the Vivaldi Concerto in C Major from the original for string trio/quartet and lute/mandolin. Most versions available today utilize a chamber orchestra. This version, expands that to include woodwinds and additional string solo parts, adding a new dimension of color to this charming work. At approximately 9 minutes and 31 seconds, this makes a lovely interlude for your audience. It also pairs well with the Vivaldi Concerto in D Major for Lute/Mandolin, also in this expanded format. (My arrangement available on this web site.) Enhanced guitar part with suggested fingerings including five finger technique for right hand. This can be played with traditional four finger RH technique by leaving out the notes played by the c or little finger of the right hand.Additional instruments are Cello solo, Double Bass solo, Flute, Oboe, Clarinet, and Bassoon. This is a revised version from the previous with enhanced fingers for guitar and a variety of improvements to the orchestration.
$19.95 ≈
17.99€
Largo from Concerto for Lute & Strings in D, RV. 93
Largo from Concerto for Lute & Strings in D, RV. 93
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Guitar
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INTERMEDIATE
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Classical
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Antonio Vivaldi
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Justin Craig
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Largo from Concerto for Lute &
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JCMuse
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1168378 Composed by Antonio Vivaldi. Arranged by Justin Craig. Baroque,Chamber,Classical,Early Music,Instruct...
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Guitar - Level 3 - Digital Download SKU: A0.1168378 Composed by Antonio Vivaldi. Arranged by Justin Craig. Baroque,Chamber,Classical,Early Music,Instructional. 7 pages. JCMuse #768709. Published by JCMuse (A0.1168378). An arrangement of the Largo (Mvt II) Â from the Concerto for Lute & Strings in D, RV. 93 for five guitars. Â Includes the soloist part and four part guitar accompaniment score. Â Also includes notes on ornamentation, optional fingering and solo arrangement.
$6.99 ≈
6.30€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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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 - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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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 ≈
21.64€
The Violin Teacher's Toolkit
The Violin Teacher's Toolkit
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Violin
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EASY
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Instructional
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Heather Figi
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Heather Figi
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The Violin Teacher's Toolkit
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Music for Young Violinists
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SheetMusicPlus
Violin Solo - Level 2 - Digital Download SKU: A0.885661 Composed by Heather Figi. Arranged by Heather Figi. Instructional. 70 pages. Music for Young Viol...
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Violin Solo - Level 2 - Digital Download SKU: A0.885661 Composed by Heather Figi. Arranged by Heather Figi. Instructional. 70 pages. Music for Young Violinists #3139387. Published by Music for Young Violinists (A0.885661). How many times have you explicitly given an assignment to a student and they come back the next week unable to replicate the teaching goals?Having taught the violin for 20 years, this was a familiar scenario for me, and it led to the creation of the materials in the Teacher’s Toolkit collection from Music for Young Violinists. This resource will help students practice the correct way independently so they achieve optimal results with their hard work and home practice time.You can download a sample from this collection of the Bach Double Concerto subdivided into sixteenth notes by filling out the contact form on the HOME page or FREEBIES page: https://www.musicforyoungviolinists.com/This 70 page *eBook contains the following materials:1- Nine Progressive Sight Reading Exercises + Five Step Approach to Teaching Sight Reading Chart2- Eight Scales & Twinkles in the Keys of C & G, D & A, Bb & F, A & E Major (organized in pairs to teach correlating finger patterns)​3- Subdivision Worksheets & Practice Guides:May SongDona Nobis Pacem (with fingerings & without fingerings)Concerto No. 2 in D Major, 3rd Mvmt., F. Seitz, (Measures 68-83)Concerto in D Minor, Mvmt. I, J.S. Bach4- Composition, Third Position, Ring Tones, Visual Formatting, Solfège, High/Low 2nd Fingers, Rondo Form Puzzle & Staff Paper:Twinkle, Twinkle Little Star & May Song Comparison WorksheetThird Position Study SheetRing, Ring, Ring (Ringtone Study for Violinists)La Folia ThemeDo-Re-Mi SongStudy for High & Low 2nd FingersMartini Gavotte PuzzleStaff Paper (5 Sizes)5- Notes6. Free Charts & Materials - The materials in this portion of The Violin Teacher's Toolkit are not under copyright protection as the rest of this collection. Violin teachers can print as many copies as they need of the resources included here in the Free Charts & Materials section for use in educational settings. All of these materials are also available on the M4YV FREEBIES page (https://www.musicforyoungviolinists.com/)Staff Paper (various sizes)FlashcardsAdd-a-note scales: A Major & G Major Chart: How to Sight Read*Chart: 15 Tips to Optimize Violin Practice *Chart: How to Teach Violin: Solve Problems Strategically with Senses and Brain Hemispheres *Charts: How to Buy a Used Violin & Quality Inspection Checklist*Charts: Finger Patterns*Chart: Quick Tip for Relieving Performance Nerves​* Correlating tutorial videos are available on the Music for Young Violinists website and YouTube channel. Use the search bar to locate specific videos.​* Please note this eBook is a digital download and no physical item will be sent. Once you order this collection, you will be re-directed to a link that allows you to download the Teacher's Toolkit and print it out from the convenience of home.A friendly reminder that integrity starts with you.I offer a very generous bulk discount if you need more than a single copy of this product.
$30.00 ≈
27.06€
John O'Reilly: Five-Note Concerto - concert band (full score)
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Concert band
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BEGINNER
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Instructional
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John O'Reilly
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Virtualsheetmusic
Instantly printable sheet music by John O'Reilly for concert band (full score) of VERY EASY skill level. / instructional,concert,light concert,children...
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Instantly printable sheet music by John O'Reilly for concert band (full score) of VERY EASY skill level. / instructional,concert,light concert,children
$10.99 ≈
9.91€
John O'Reilly: Five-Note Concerto (COMPLETE) - concert band
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Concert band
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BEGINNER
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Instructional
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John O'Reilly
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Virtualsheetmusic
Instantly printable sheet music by John O'Reilly for concert band of VERY EASY skill level. / instructional,concert,light concert,children
Instantly printable sheet music by John O'Reilly for concert band of VERY EASY skill level. / instructional,concert,light concert,children
$52.99 ≈
47.79€
Five-Note Concerto: (wp) E-flat Tuba T.C.
Five-Note Concerto: (wp) E-flat Tuba T.C.
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Concert band
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Instructional
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John O'Reilly
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Five-Note Concerto:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
By John O'Reilly. For Concert Band. Instructional. World Part. Published by Alfred Music - Digital Sheet Music ...
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By John O'Reilly. For Concert Band. Instructional. World Part. Published by Alfred Music - Digital Sheet Music
$3.00 ≈
2.71€
Five-Note Concerto: (wp) E-flat Tuba B.C.
Five-Note Concerto: (wp) E-flat Tuba B.C.
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Tuba (band part)
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Instructional
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John O'Reilly
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Five-Note Concerto:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
By John O'Reilly. For Concert Band. Instructional. World Part. Published by Alfred Music - Digital Sheet Music ...
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By John O'Reilly. For Concert Band. Instructional. World Part. Published by Alfred Music - Digital Sheet Music
$3.00 ≈
2.71€
Five-Note Concerto: (wp) B-flat Tuba T.C.
Five-Note Concerto: (wp) B-flat Tuba T.C.
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Concert band
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Instructional
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John O'Reilly
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Five-Note Concerto:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
By John O'Reilly. For Concert Band. Instructional. World Part. Published by Alfred Music - Digital Sheet Music ...
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By John O'Reilly. For Concert Band. Instructional. World Part. Published by Alfred Music - Digital Sheet Music
$3.00 ≈
2.71€
Five-Note Concerto: (wp) B-flat Tuba B.C.
Five-Note Concerto: (wp) B-flat Tuba B.C.
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Tuba (band part)
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Instructional
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John O'Reilly
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Five-Note Concerto:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
By John O'Reilly. For Concert Band. Instructional. World Part. Published by Alfred Music - Digital Sheet Music ...
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By John O'Reilly. For Concert Band. Instructional. World Part. Published by Alfred Music - Digital Sheet Music
$3.00 ≈
2.71€
Five-Note Concerto: (wp) B-flat Baritone B.C.
Five-Note Concerto: (wp) B-flat Baritone B.C.
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Concert band
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Instructional
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John O'Reilly
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Five-Note Concerto:
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
By John O'Reilly. For Concert Band. Instructional. World Part. Published by Alfred Music - Digital Sheet Music ...
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By John O'Reilly. For Concert Band. Instructional. World Part. Published by Alfred Music - Digital Sheet Music
$3.00 ≈
2.71€
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Five Note Concerto:
