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Four Melodies for Violin and Piano
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You've selected:
Four Melodies for Violin and Piano
Sheetmusic to print
59 sheet music found
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Four Melodies for Violin and Piano
Four Melodies for Violin and Piano
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Violin and Piano
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INTERMEDIATE
#
Contemporary
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John Hawkes
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Four Melodies for Violin and P
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John Hawkes
#
SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano,Violin - Level 3 - Digital Download SKU: A0.941575 Composed by John Hawkes. 20th Century,Contemporary. Score an...
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Instrumental Duet Instrumental Duet,Piano,Violin - Level 3 - Digital Download SKU: A0.941575 Composed by John Hawkes. 20th Century,Contemporary. Score and parts. 24 pages. John Hawkes #3676173. Published by John Hawkes (A0.941575).
$3.50 ≈
¥25.42
Amazing Grace, Concert Solo for Violin and Piano
Amazing Grace, Concert Solo for Violin and Piano
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Violin and Piano
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INTERMEDIATE
#
Sacred music
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Gospel/Spiritual
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John Newton
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David McKeown
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Amazing Grace, Concert Solo fo
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David McKeown
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SheetMusicPlus
Piano,Violin - Level 3 - Digital Download SKU: A0.587647 Composed by John Newton. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred. 6 ...
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Piano,Violin - Level 3 - Digital Download SKU: A0.587647 Composed by John Newton. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred. 6 pages. David McKeown #4611393. Published by David McKeown (A0.587647). Amazing Grace is perhaps the best-known and best-loved hymn in the world. The writer, John Newton, led a dissolute life as a sailor in the slave trade for many years before marriage, along with a close encounter with death at sea, dramatically changed his perspective. He lived out his later years as a devout and charismatic clergyman in the English countryside, renowned for his direct and personal style. The words he wrote in Amazing Grace are an intimate retelling of his spiritual journey. The hymn was written in 1773, and was sung to many different melodies initially, but since the mid nineteenth century it has become most closely associated with the famous folk tune melody presented here, New Britain.This version is arranged as a solo for Violin with Piano accompaniment. The melody is played four times, each verse in a different style. The thirty second sample recording is from the Alto Saxophone version; if you would like to hear and see the whole arrangement then click the youtube link https://youtu.be/T4h91k9M8mcMusicians at an intermediate level and above will find this ideal for formal and informal performances, on both sacred and secular occasions. The overall performance time is around three and a half minutes.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$4.60 ≈
¥33.40
ARIOSO, by J. S. Bach (sinfonia) - for Violin and accompaniment
ARIOSO, by J. S. Bach (sinfonia) - for Violin and accompaniment
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Violin and Piano
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BEGINNER
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Classical
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Johann Sebastian Bach
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Leyandder Trustworthy
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ARIOSO, by J. S. Bach
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Leyandder Trustworthy
#
SheetMusicPlus
Piano,Violin - Level 1 - Digital Download SKU: A0.964409 Composed by Johann Sebastian Bach. Arranged by Leyandder Trustworthy. Baroque,Instructional,Sacr...
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Piano,Violin - Level 1 - Digital Download SKU: A0.964409 Composed by Johann Sebastian Bach. Arranged by Leyandder Trustworthy. Baroque,Instructional,Sacred,Standards,World. 2 pages. Leyandder Trustworthy #6323023. Published by Leyandder Trustworthy (A0.964409). Cantata 156 was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. The text is by Picander, one of Bach's favorite librettists. of the four cantatas written by Bach for the feast (72, 73, 111 and 156), it was the last, and the only one scored for solo voice. Like Cantatas 73 and 111, it is a choral cantata, employing a choral melody in several movements. Cantata 156, in fact, employs two different melodies and choral texts in the second and sixth (final) movements, respectively; the second uses Machs mit mir, Gott, nach deiner Güt (Schein, 1628), which Herr, wie du willt, so schicks mit mir (Binemann, 1582) is reserved for the finale. This version of the piece was adapted for Violin along with a piano accompaniment that comes with the product.
$4.99 ≈
¥36.24
4 Lyrical Violin Solos with Piano - Green Hill, Amazing Grace, Lark in the Clear Air & Silent Night
4 Lyrical Violin Solos with Piano - Green Hill, Amazing Grace, Lark in the Clear Air & Silent Night
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Violin and Piano
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INTERMEDIATE/ADVANCED
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Christmas
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David Catherwood
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David Catherwood
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4 Lyrical Violin Solos with Pi
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Opus 3 Music
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SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.1211971 By David Catherwood. By Traditional. Arranged by David Catherwood. Celtic,Christian,Christmas,E...
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Piano,Violin - Level 4 - Digital Download SKU: A0.1211971 By David Catherwood. By Traditional. Arranged by David Catherwood. Celtic,Christian,Christmas,Easter,Irish,Wedding. 17 pages. Opus 3 Music #809521. Published by Opus 3 Music (A0.1211971). Four Lyrical Violin Solos with Piano accompanimentGreen HillAmazing GraceThe Lark in the Clear AirSilent NightFour well loved melodies arranged for violin and piano.Useful for worship services, weddings, concerts, seasonal use and general performing for pleasure.Parts included in the downloadViolin Solo partsPiano accompaniments.
$12.50 ≈
¥90.77
Four Simple Pieces for Flute
Four Simple Pieces for Flute
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Flute and Piano
#
EASY
#
Dorothy Pilling
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Four Simple Pieces for Flute
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Forsyth Brothers Ltd
#
SheetMusicPlus
Flute,Piano - Level 2 - Digital Download SKU: A0.1434991 Composed by Dorothy Pilling. 20th Century,Classical,Contest,Festival. Score and part. 22 pages. ...
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Flute,Piano - Level 2 - Digital Download SKU: A0.1434991 Composed by Dorothy Pilling. 20th Century,Classical,Contest,Festival. Score and part. 22 pages. Forsyth Brothers Ltd #1015095. Published by Forsyth Brothers Ltd (A0.1434991). These short but perfectly formed pieces are intended for flautists of about a year's standing. It is hoped that this small album will also help to foster in young players a taste for ensemble playing: the two simple trios also include oboe and clarinet, but if these instruments are not available the parts may be played on a violin. Buffoon The Cuckoo Ländler Jig Bercuse (Trio for Flute, Oboe and Piano) Sarabande (Trio for Flute, Clarinet and Piano) Pilling was a much loved figure in the Mancunian musical world, known to generations of young pianists for her imaginative piano teaching pieces. Most famous for classic 'Harmonization of Melodies at the Keyboard' series, Dorothy Pilling also composed many piano duets and solos, as well as songs and other works. According to the Voxturturis blog:'Her music remains fresh and light; characterised by strong melodies and late romantic harmony which she improvised well and the pieces are, in the main, short. Instantly appealing to players and audiences alike, most of her work shows a high degree of compositional craft'.
$9.99 ≈
¥72.55
AIR AND JIG for violin and piano
AIR AND JIG for violin and piano
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Violin
#
EASY
#
Contemporary
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James F
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AIR AND JIG for violin and pia
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James Babcock
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SheetMusicPlus
Violin Solo - Level 2 - Digital Download SKU: A0.1017129 Composed by James F. Babcock. Contemporary. 17 pages. James Babcock #6065255. Published by James...
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Violin Solo - Level 2 - Digital Download SKU: A0.1017129 Composed by James F. Babcock. Contemporary. 17 pages. James Babcock #6065255. Published by James Babcock (A0.1017129). Violin with piano accompaniment. 17 pgs. Pleasing Irish melodies of early-intermediate difficulty. When you can play these, you’re playing the violin! Included among the four pieces in A Scotch-Irish Suite, which is also available on SMP (SO.876851). Your compositions are charming and melodic, useful both for training and performance.-Thomas Lindsay, former concertmaster, Virginia Beach Symphony and New Jersey Pops.
$5.95 ≈
¥43.21
FROM CHILDHOOD four pieces for violin
FROM CHILDHOOD four pieces for violin
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Violin
#
EASY
#
Contemporary
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James F
#
FROM CHILDHOOD four pieces for
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James Babcock
#
SheetMusicPlus
Violin Solo - Level 2 - Digital Download SKU: A0.1017149 Composed by James F. Babcock. Contemporary. 15 pages. James Babcock #6350285. Published by James...
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Violin Solo - Level 2 - Digital Download SKU: A0.1017149 Composed by James F. Babcock. Contemporary. 15 pages. James Babcock #6350285. Published by James Babcock (A0.1017149). FROM CHILDHOOD – Violin part only. 15 pgs. (Piano accomp. 35 pgs. Sold separately. ) Four easy to Intermediate violin solos for instruction and performance. With piano accompaniments. Each of the four pieces is available separately on SMP. (1) MARGARET DANCING. (SO. ) Like a Beethoven song and country dance, this piece offers pleasing melodies for the beginner who is well along, both to study and to perform in recital. (2) MUSICBOX. (SO. ) This short easy piece imitates the sound of a music box, including its running down at the end. For instruction it can serve to introduce the student to light staccato bowing or up and down slurred staccato bowing. For performance it can serve as an amusing interlude. (3) HYMNSONG. (SO. ) In the form of an etude, this piece consists of a simple theme with numerous variations, somewhat like Paganini’s famous Caprice 24. Of intermediate difficulty, it offers double stops, tremolo, and various bowings. For performance it can be played as is or it can easily be shortened by omission of one or more passages. (4) MOTHER’S STORIES. (SO. ) Varying from sweet to dramatic, this simple composition offers an opportunity for emotional interpretation. Intermediate from that standpoint, It is otherwise basically easy. A nice recital piece. Your compositions are charming and melodic, useful both for training and performance.-Thomas Lindsay, former concertmaster, Virginia Beach Symphony and New Jersey Pops.
$5.25 ≈
¥38.13
Vivaldi: Sonata No. 1 for Flute & Piano
Vivaldi: Sonata No. 1 for Flute & Piano
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Flute and Piano
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INTERMEDIATE
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Classical
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Antonio Vivaldi
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James M
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Vivaldi: Sonata No. 1 for Flut
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jmsgu3
#
SheetMusicPlus
Flute,Piano - Level 3 - Digital Download SKU: A0.550397 Composed by Antonio Vivaldi. Arranged by James M. Guthrie. Baroque,Christmas,Easter,Sacred. Score...
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Flute,Piano - Level 3 - Digital Download SKU: A0.550397 Composed by Antonio Vivaldi. Arranged by James M. Guthrie. Baroque,Christmas,Easter,Sacred. Score and part. 24 pages. Jmsgu3 #4628299. Published by jmsgu3 (A0.550397). Sonata da Chiesa in Bb for Flute & Piano by Antonio Vivaldi in Four movements.Antonio Vivaldi (1678-1741) was an Italian composer and violinist in the Baroque period who is widely considered one of the greatest composers of all time. He significantly influenced many other composers of the Baroque era, and his impact can still be felt in music today.Vivaldi's most significant contribution to music history was his development of the Sonata da Chiesa or church sonata. This composition was a variation of the Baroque sonata and was used primarily in sacred music. It was characterized by a more lyrical approach to composition, focusing on melody and harmonic structure. Vivaldi was one of the first composers to use this form, and his works set the standard for future composers. His church sonatas were written in various keys and styles, and their influence can be heard in the works of later composers, such as J.S. Bach and Handel.Vivaldi's influence on music history is far-reaching, and his contributions to the development of the Sonata da Chiesa are among his most important. His compositions are still widely performed and appreciated today, and his legacy shapes modern-era music.The mood of Vivaldi's Sonata No. 1 can be described as diverse, as it typically consists of multiple movements with varying emotional qualities. Vivaldi's cello sonatas, including Sonata No. 1, are known for their attractive melodies, stylistic variety, and dance-like movements, which can evoke emotions from lively and joyful to reflective and sad. The sonatas often feature a combination of slow and quick movements, reflecting the typical structure of church sonatas from the Baroque period. Therefore, the mood of Sonata No. 1 is likely to encompass a spectrum of emotional expressions characteristic of Vivaldi's compositional style.
$32.95 ≈
¥239.28
FROM CHILDHOOD piano accompaniment
FROM CHILDHOOD piano accompaniment
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Piano solo
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EASY
#
Contemporary
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James Babcock
#
#
FROM CHILDHOOD piano accompani
#
James Babcock
#
SheetMusicPlus
Piano Solo - Level 2 - Digital Download SKU: A0.1017150 Composed by James Babcock. Contemporary. Score. 35 pages. James Babcock #6350295. Published by Ja...
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Piano Solo - Level 2 - Digital Download SKU: A0.1017150 Composed by James Babcock. Contemporary. Score. 35 pages. James Babcock #6350295. Published by James Babcock (A0.1017150). FROM CHILDHOOD – Piano accompaniment only. 35 pgs. (Violin part. 15 pgs. Sold separately SO. .) Four easy to Intermediate violin solos for instruction and performance. With piano accompaniments. Each of the four pieces is available separately on SMP. (1) MARGARET DANCING. (SO. ) Like a Beethoven song and country dance, this piece offers pleasing melodies for the beginner who is well along, both to study and to perform in recital. (2) MUSICBOX. (SO. ) This short easy piece imitates the sound of a music box, including its running down at the end. For instruction it can serve to introduce the student to light staccato bowing or up and down slurred staccato bowing. For performance it can serve as an amusing interlude. (3) HYMNSONG. (SO. ) In the form of an etude, this piece consists of a simple theme with numerous variations, somewhat like Paganini’s famous Caprice 24. Of intermediate difficulty, it offers double stops, tremolo, and various bowings. For performance it can be played as is or it can easily be shortened by omission of one or more passages. (4) MOTHER’S STORIES. (SO. ) Varying from sweet to dramatic, this simple composition offers an opportunity for emotional interpretation. Intermediate from that standpoint, It is otherwise basically easy. A nice recital piece. Your compositions are charming and melodic, useful both for training and performance.-Thomas Lindsay, former concertmaster, Virginia Beach Symphony and New Jersey Pops.
$12.25 ≈
¥88.96
The Wedding Album, for Solo Violin and Piano
The Wedding Album, for Solo Violin and Piano
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Violin and Piano
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INTERMEDIATE
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Walt Disney
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Various
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David McKeown
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The Wedding Album, for Solo Vi
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David McKeown
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SheetMusicPlus
Piano,Violin - Level 3 - Digital Download SKU: A0.587635 Composed by Various. Arranged by David McKeown. Baroque,Concert,Romantic Period,Standards,Weddin...
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Piano,Violin - Level 3 - Digital Download SKU: A0.587635 Composed by Various. Arranged by David McKeown. Baroque,Concert,Romantic Period,Standards,Wedding. 24 pages. David McKeown #4594713. Published by David McKeown (A0.587635). The Wedding Album is a collection of four beautiful and timeless wedding favourites, arranged for Solo Violin with Piano accompaniment. Whether for that Special Day, for a recital, or for your own entertainment, these arrangements are ideal for players at an intermediate level or higher. The 24-page file includes the piano accompaniments and the separate solo parts at the end. Ave Maria was written by Franz Schubert in 1825 as the sixth song in his song cycle based on Walter Scott’s poem The Lady of the Lake. It is perhaps the best known of all his melodies, adapted for piano by Franz Liszt, and for orchestra many times since. It is often sung with the Latin lyrics of the Catholic hymn of the same name and has been heard everywhere from the Disney movie Fantasia to the funeral of J.F. Kennedy. The Bridal March was written by Richard Wagner in 1850, scored for orchestra and chorus, and opening the third act of his opera, Lohingren. It is best known in the English-speaking world as Here Comes the Bride. Queen Victoria’s daughter used the music for her marriage in 1858, and its popularity has endured ever since.The Prince of Denmark’s March is better known nowadays as the Trumpet Voluntary and is often used in wedding ceremonies. It was in fact written for organ, with the melody played on thetrumpet stop. Written around 1700, for many years this piece was mistakenly attributed to Henry Purcell. Only recently has it been established that the composer was Jeremiah Clarke, organist at St Paul’s Cathedral. It is somewhat ironic that this composer of a wedding mainstay was himself a victim of unrequited love. He consequently shot himself in the cathedral graveyard. Felix Mendelssohn’s Wedding March was originally written in 1842 as incidental music to Shakespeare’s famousplay, Midsummer Night’s Dream. When Queen Victoria’s daughter used the music for her marriage in 1858, it became instantly popular and has remained a wedding favourite ever since.These four arrangements are also available as single titles for $3.99 each. You can find these along with many more top quality arrangements and compositions by David McKeown at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$9.99 ≈
¥72.55
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 ≈
¥174.21
Send the Light for Piano Trio
Send the Light for Piano Trio
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Flute, Violin, Violoncello and Piano
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INTERMEDIATE
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Sacred music
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Gospel/Spiritual
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Charles H
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Elisha G
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Send the Light for Piano Trio
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Rose Music Studio
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SheetMusicPlus
Small Ensemble Cello,Flute,Piano,Violin - Level 3 - Digital Download SKU: A0.796515 Composed by Charles H. Gabriel. Arranged by Elisha G. Rose. Christian...
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Small Ensemble Cello,Flute,Piano,Violin - Level 3 - Digital Download SKU: A0.796515 Composed by Charles H. Gabriel. Arranged by Elisha G. Rose. Christian,Gospel,Sacred. Score and parts. 16 pages. Rose Music Studio #3500125. Published by Rose Music Studio (A0.796515). This hymn for piano trio opens up with an exciting, jovial mood as the verse and chorus are passed back and fourth between the violin and cello. The piano enters with a very soft statement of the theme while the violin and cello play flowing counter melodies around it. The mood changes back to the energetic rhythms for a final statement of the hymn.
$10.00 ≈
¥72.62
Hungarian Dance No. 1 for Two Trombones and Piano
Hungarian Dance No. 1 for Two Trombones and Piano
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Trombone and Piano
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INTERMEDIATE/ADVANCED
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Classical
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Johannes Brahms
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P
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Hungarian Dance No. 1 for Two
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Pete Strohm Music
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928593 Composed by Johannes Brahms. Arranged by P. F. Stroh...
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Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928593 Composed by Johannes Brahms. Arranged by P. F. Strohm. Classical,Contest,Festival,Instructional,Romantic Period,Standards. Score and parts. 18 pages. Pete Strohm Music #6672669. Published by Pete Strohm Music (A0.928593). Johannes Brahms' Hungarian Dance No. 1, expertly arranged by American composer P. F. Strohm for a trio consisting of two tenor trombones and piano. Brahms was enthralled with the rhythms and melodies of Hungarian music. He originally wrote his 21 Hungarian Dances for piano four-hands, and loved performing them for his friends. P. F. Strohm has placed the first six of these musical gems into a new setting of two trombones and piano, drawing from the original piano score; from the violin and piano arrangements made by Brahms' friend, Joseph Joachim; and from Brahms' own solo piano arrangements. These new arrangements are for skilled performers on all parts. Written for and dedicated to Mark Kellogg and Larry Zalkind at the Eastman School of Music, the dances are excellent for recitals and contests, and make wonderful encores. Performance time for Hungarian Dance No. 1 for Two Trombones and Piano is 3:27. Difficulty is Medium-Advanced. Member, ASCAP
$6.95 ≈
¥50.47
Hungarian Dance No. 5 for Two Trombones and Piano
Hungarian Dance No. 5 for Two Trombones and Piano
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Trombone and Piano
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INTERMEDIATE/ADVANCED
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Classical
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Johannes Brahms
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P
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Hungarian Dance No. 5 for Two
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Pete Strohm Music
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928596 Composed by Johannes Brahms. Arranged by P. F. Stroh...
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Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928596 Composed by Johannes Brahms. Arranged by P. F. Strohm. Classical,Contest,Festival,Instructional,Romantic Period,Standards. Score and parts. 12 pages. Pete Strohm Music #6672697. Published by Pete Strohm Music (A0.928596). Johannes Brahms' Hungarian Dance No. 5, expertly arranged by American composer P. F. Strohm for a trio consisting of two tenor trombones and piano. Brahms was enthralled with the rhythms and melodies of Hungarian music. He originally wrote his 21 Hungarian Dances for piano four-hands, and loved performing them for his friends. P. F. Strohm has placed the first six of these musical gems into a new setting of two trombones and piano, drawing from the original piano score; from the violin and piano arrangements made by Brahms' friend, Joseph Joachim; and from Brahms' own solo piano arrangements. These new arrangements are for skilled performers on all parts. Written for and dedicated to Mark Kellogg and Larry Zalkind at the Eastman School of Music, the dances are excellent for recitals and contests, and make wonderful encores. Performance time for Hungarian Dance No. 5 for Two Trombones and Piano is 3:00. Difficulty is Medium-Advanced. Member, ASCAP
$6.95 ≈
¥50.47
Hungarian Dance No. 2 for Two Trombones and Piano
Hungarian Dance No. 2 for Two Trombones and Piano
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Trombone and Piano
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INTERMEDIATE/ADVANCED
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Classical
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Johannes Brahms
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P
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Hungarian Dance No. 2 for Two
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Pete Strohm Music
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928594 Composed by Johannes Brahms. Arranged by P. F. Stroh...
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Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928594 Composed by Johannes Brahms. Arranged by P. F. Strohm. Classical,Contest,Festival,Instructional,Romantic Period,Standards. Score and parts. 16 pages. Pete Strohm Music #6672679. Published by Pete Strohm Music (A0.928594). Johannes Brahms' Hungarian Dance No. 2, expertly arranged by American composer P. F. Strohm for a trio consisting of two tenor trombones and piano. Brahms was enthralled with the rhythms and melodies of Hungarian music. He originally wrote his 21 Hungarian Dances for piano four-hands, and loved performing them for his friends. P. F. Strohm has placed the first six of these musical gems into a new setting of two trombones and piano, drawing from the original piano score; from the violin and piano arrangements made by Brahms' friend, Joseph Joachim; and from Brahms' own solo piano arrangements. These new arrangements are for skilled performers on all parts. Written for and dedicated to Mark Kellogg and Larry Zalkind at the Eastman School of Music, the dances are excellent for recitals and contests, and make wonderful encores. Performance time for Hungarian Dance No. 2 for Two Trombones and Piano is 2:57. Difficulty is Medium-Advanced. Member, ASCAP
$6.95 ≈
¥50.47
Hungarian Dance No. 3 for Two Trombones and Piano
Hungarian Dance No. 3 for Two Trombones and Piano
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Trombone and Piano
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INTERMEDIATE/ADVANCED
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Classical
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Johannes Brahms
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P
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Hungarian Dance No. 3 for Two
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Pete Strohm Music
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928174 Composed by Johannes Brahms. Arranged by P. F. Stroh...
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Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928174 Composed by Johannes Brahms. Arranged by P. F. Strohm. Contest,Festival,Instructional,Romantic Period,Standards. Score and parts. 10 pages. Pete Strohm Music #6672683. Published by Pete Strohm Music (A0.928174). Johannes Brahms' Hungarian Dance No. 3, expertly arranged by American composer P. F. Strohm for a trio consisting of two tenor trombones and piano. Brahms was enthralled with the rhythms and melodies of Hungarian music. He originally wrote his 21 Hungarian Dances for piano four-hands, and loved performing them for his friends. P. F. Strohm has placed the first six of these musical gems into a new setting of two trombones and piano, drawing from the original piano score; from the violin and piano arrangements made by Brahms' friend, Joseph Joachim; and from Brahms' own solo piano arrangements. These new arrangements are for skilled performers on all parts. Written for and dedicated to Mark Kellogg and Larry Zalkind at the Eastman School of Music, the dances are excellent for recitals and contests, and make wonderful encores. Performance time for Hungarian Dance No. 3 for Two Trombones and Piano is 2:24. Difficulty is Medium-Advanced. Member, ASCAP
$6.95 ≈
¥50.47
Hungarian Dance No. 4 for Two Trombones and Piano
Hungarian Dance No. 4 for Two Trombones and Piano
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Trombone and Piano
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INTERMEDIATE/ADVANCED
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Classical
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Johannes Brahms
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P
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Hungarian Dance No. 4 for Two
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Pete Strohm Music
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928173 Composed by Johannes Brahms. Arranged by P. F. Stroh...
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Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928173 Composed by Johannes Brahms. Arranged by P. F. Strohm. Contest,Festival,Instructional,Romantic Period,Standards. Score and parts. 16 pages. Pete Strohm Music #6672693. Published by Pete Strohm Music (A0.928173). Johannes Brahms' Hungarian Dance No. 4, expertly arranged by American composer P. F. Strohm for a trio consisting of two tenor trombones and piano. Brahms was enthralled with the rhythms and melodies of Hungarian music. He originally wrote his 21 Hungarian Dances for piano four-hands, and loved performing them for his friends. P. F. Strohm has placed the first six of these musical gems into a new setting of two trombones and piano, drawing from the original piano score; from the violin and piano arrangements made by Brahms' friend, Joseph Joachim; and from Brahms' own solo piano arrangements. These new arrangements are for skilled performers on all parts. Written for and dedicated to Mark Kellogg and Larry Zalkind at the Eastman School of Music, the dances are excellent for recitals and contests, and make wonderful encores. Performance time for Hungarian Dance No. 4 for Two Trombones and Piano is 4:52. Difficulty is Medium-Advanced. Member, ASCAP
$6.95 ≈
¥50.47
Hungarian Dance No. 6 for Two Trombones and Piano
Hungarian Dance No. 6 for Two Trombones and Piano
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Trombone and Piano
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INTERMEDIATE/ADVANCED
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Classical
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Johannes Brahms
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P
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Hungarian Dance No. 6 for Two
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Pete Strohm Music
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928175 Composed by Johannes Brahms. Arranged by P. F. Stroh...
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Instrumental Duet,Piano Instrumental Duet,Piano,Trombone - Level 4 - Digital Download SKU: A0.928175 Composed by Johannes Brahms. Arranged by P. F. Strohm. Contest,Festival,Instructional,Romantic Period,Standards. Score and parts. 16 pages. Pete Strohm Music #6672699. Published by Pete Strohm Music (A0.928175). Johannes Brahms' Hungarian Dance No. 6, expertly arranged by American composer P. F. Strohm for a trio consisting of two tenor trombones and piano. Brahms was enthralled with the rhythms and melodies of Hungarian music. He originally wrote his 21 Hungarian Dances for piano four-hands, and loved performing them for his friends. P. F. Strohm has placed the first six of these musical gems into a new setting of two trombones and piano, drawing from the original piano score; from the violin and piano arrangements made by Brahms' friend, Joseph Joachim; and from Brahms' own solo piano arrangements. These new arrangements are for skilled performers on all parts. Written for and dedicated to Mark Kellogg and Larry Zalkind at the Eastman School of Music, the dances are excellent for recitals and contests, and make wonderful encores. Performance time for Hungarian Dance No. 6 for Two Trombones and Piano is 3:18. Difficulty is Medium-Advanced. Member, ASCAP
$6.95 ≈
¥50.47
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Four Melodies for Violin and Piano
