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Harmonica Harpsichord
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Sheetmusic to print
18 sheet music found
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1
Man With The Harmonica
Man With The Harmonica
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Concert band
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EASY
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Ennio Morricone
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Juan José Peláez Vilanov
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Man With The Harmonica
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John Joseph
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1139276 Composed by Ennio Morricone. Arranged by Juan José Peláez Vilanova. 20th Century,Film/TV....
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Concert Band - Level 2 - Digital Download SKU: A0.1139276 Composed by Ennio Morricone. Arranged by Juan José Peláez Vilanova. 20th Century,Film/TV. Score and parts. 47 pages. John Joseph #739559. Published by John Joseph (A0.1139276). The weight of Ennio Morriocone in the composition of film music in the second half of the s. XX is indisputable, in terms of innovation and production volume. The particular technique of treating the melodic cells will become a paradigm of his language, along with the use of innovative timbres, which were not common in the orchestral music of the time. The close collaboration with Sergio Leone during the 60s will contribute to consolidating him as a benchmark in the sound of the Western genre. After the success of the so-called Dollar Trilogy, Paramount Pictures asked Leone to repeat the formula before tackling other projects. This one, with a more generous budget, will start filming C'era una volta il West, an eclectic story in which all the characteristic elements of the genre are represented: the railroad, the gunslingers and bandits, the american pioneers, the woman of character indomitable and the enigmatic man in search of revenge. Leone again entrusted the soundtrack to Ennio Morricone, playing this one a fundamental role in the story. The present transcription incorporates the original sounds of the author, such as the harmonica, the electric and classical guitar, the harpsichord or the choir, in the ensemble of the concert band, seeking to achieve a greater sound fidelity with the score. Understanding the difficulty that having these resources can entail, the previous specific parts are of an optional nature, so that the arrangement also works without them, and also if any of the parts is incorporated independently of the rest.
$49.99 ≈
£38.06
Z 122 for glockenspiel, harps, harpsichord, upright bass
Z 122 for glockenspiel, harps, harpsichord, upright bass
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Celebrity Chamber Players
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Z 122 for glockenspiel, harps,
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Father Ambrose Press
#
SheetMusicPlus
Double Bass,Harmonica,Harpsichord,Percussion - Level 3 - Interactive Download SKU: A0.1421812 By Celebrity Chamber Players. By Dr. Marshall Thomas. This ...
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Double Bass,Harmonica,Harpsichord,Percussion - Level 3 - Interactive Download SKU: A0.1421812 By Celebrity Chamber Players. By Dr. Marshall Thomas. This edition: Interactive Download. Children,Christian,Praise & Worship. 12 pages. Duration 30. Father Ambrose Press #64m4oyiqbUx6hkhP9ZQsIm. Published by Father Ambrose Press (A0.1421812). Key: C major.Z 122 for glockenspiel, harps, harpsichord & upright bass...
$16.00 ≈
£12.18
The First Nowell
The First Nowell
Piano,Harpsichord,Keyboard/Synthesizer,Woodwind Quartet,Brass Quartet,String Quartet,Drums,Guitar,Ukelele,Banjo,Harp,Handbell Choir,Chamber Orchestra,Harmonica,Recorder
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English Melody
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James Gilbert
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The First Nowell
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SheetMusicPlus
Composed by English Melody. Arranged by James Gilbert. For Piano,Harpsichord,Keyboard/Synthesizer,Woodwind Quartet,Brass Quartet,String Quartet,Drums,Guitar,Uke...
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Composed by English Melody. Arranged by James Gilbert. For Piano,Harpsichord,Keyboard/Synthesizer,Woodwind Quartet,Brass Quartet,String Quartet,Drums,Guitar,Ukelele,Banjo,Harp,Handbell Choir,Chamber Orchestra,Harmonica,Recorder. Christian,Contemporary Chr
$9.99 ≈
£7.61
Confection 161
Confection 161
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Celebrity Chamber Players
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Confection 161
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Father Ambrose Press
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SheetMusicPlus
Harmonica,Harpsichord,Percussion,Piano,Vibraphone,Xylophone - Level 5 - Interactive Download SKU: A0.1378650 By Celebrity Chamber Players. By Dr. Marshal...
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Harmonica,Harpsichord,Percussion,Piano,Vibraphone,Xylophone - Level 5 - Interactive Download SKU: A0.1378650 By Celebrity Chamber Players. By Dr. Marshall Thomas. This edition: Interactive Download. Classical,Film/TV. 23 pages. Duration 69. Father Ambrose Press #5PJVGbURJolwrSuYovnudX. Published by Father Ambrose Press (A0.1378650). Key: C major.Confection 161, composed for vibraphone, marimba, xylophone, glockenspiel, harp, celesta, and harpsichord...
$17.00 ≈
£12.94
Adagio from Concerto for Oboe and Violin in C Minor - Reconstruction after Concerto for 2 Harpsichor
Adagio from Concerto for Oboe and Violin in C Minor - Reconstruction after Concerto for 2 Harpsichor
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Classical
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Johann Sebastian Bach
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Wilfried Fischer - Edited by F
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Adagio from Concerto for Oboe
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Flavio Regis Cunha
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SheetMusicPlus
Large Ensemble Flute,Guitar,Harmonica,Oboe,Piano Accompaniment,Soprano Recorder,Violin - Level 4 - Digital Download SKU: A0.597545 Composed by Johann Seb...
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Large Ensemble Flute,Guitar,Harmonica,Oboe,Piano Accompaniment,Soprano Recorder,Violin - Level 4 - Digital Download SKU: A0.597545 Composed by Johann Sebastian Bach. Arranged by Wilfried Fischer - Edited by Flavio Regis Cunha. Baroque,Contemporary,Easter. Score and parts. 7 pages. Flavio Regis Cunha #6441577. Published by Flavio Regis Cunha (A0.597545). The concerto for two harpsichords in C minor, BWV 1060, is a concerto for two harpsichords and string orchestra by Johann Sebastian Bach. It is likely to have originated in the second half of the 1730s as an arrangement of an earlier concerto, also in C minor, for oboe and violin. That conjectural original version of the concerto, which may have been composed in Bach's Köthen years (1717–1723), is lost, but has been reconstructed in several versions known as BWV 1060R. While the extant 18th-century manuscripts present the concerto in a form for two harpsichords and strings, the assumption that it originated as concerto for violin and oboe has become widely accepted since the late 19th century. The Adagio middle movement, where the melody lines of both solo instruments imitate one another without distinction in texture and figuration, has been likened to the middle movement of Bach's double violin concerto, BWV 1043. Here we present the reconstruction for 2 Instruments in C and Piano.
$12.99 ≈
£9.89
'Ku Lari Ke Pantai
'Ku Lari Ke Pantai
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SR
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Lyric: SR
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'Ku Lari Ke Pantai
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SR.Pakpahan,SST
#
SheetMusicPlus
Large Ensemble Bass Guitar,Congas,Drum Set,Flute,Harmonica,Harpsichord,Marimba,Piano,Piccolo,Trumpet,Viola,Voice - Level 5 - Digital Download SKU: A0.990727
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Large Ensemble Bass Guitar,Congas,Drum Set,Flute,Harmonica,Harpsichord,Marimba,Piano,Piccolo,Trumpet,Viola,Voice - Level 5 - Digital Download SKU: A0.990727 Composed by SR.Pakpahan,SST. Arranged by Lyric: SR.Pakpahan,SST. Children,Contemporary,Musical/Show,New Age,World. Score and parts. 3 pages. SR.Pakpahan,SST #3516103. Published by SR.Pakpahan,SST (A0.990727). PMD Music Creation.
$1.99 ≈
£1.52
'Ku Lari Ke Pantai
'Ku Lari Ke Pantai
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SR
#
Lyric: SR
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'Ku Lari Ke Pantai
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SR.Pakpahan,SST
#
SheetMusicPlus
Large Ensemble Bass Guitar,Congas,Drum Set,Flute,Harmonica,Harpsichord,Marimba,Piano,Piccolo,Trumpet,Viola,Voice - Level 5 - Digital Download SKU: A0.990730
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Large Ensemble Bass Guitar,Congas,Drum Set,Flute,Harmonica,Harpsichord,Marimba,Piano,Piccolo,Trumpet,Viola,Voice - Level 5 - Digital Download SKU: A0.990730 Composed by SR.Pakpahan,SST. Arranged by Lyric: SR.Pakpahan,SST. Children,Contemporary,Musical/Show,New Age,World. Score and parts. 3 pages. SR.Pakpahan,SST #3535625. Published by SR.Pakpahan,SST (A0.990730). PMD Music CreationA Song With Vokal From PMD Music Creation.
$1.99 ≈
£1.52
A Quai
A Quai
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Yann Tiersen
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Silvia Manca
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A Quai
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Smim.it
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SheetMusicPlus
Cello,Clarinet,Flute,Guitar,Harmonica,Harpsichord,Violin - Level 2 - Digital Download SKU: A0.752064 By Yann Tiersen. By Yann Tiersen. Arranged by Silvia...
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Cello,Clarinet,Flute,Guitar,Harmonica,Harpsichord,Violin - Level 2 - Digital Download SKU: A0.752064 By Yann Tiersen. By Yann Tiersen. Arranged by Silvia Manca. Film/TV,French. 52 pages. Smim.it #5708773. Published by Smim.it (A0.752064).
$12.99 ≈
£9.89
Siapakah Kekasih Allah ?
Siapakah Kekasih Allah ?
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SR
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Liric : SR
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Siapakah Kekasih Allah ?
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SR.Pakpahan,SST
#
SheetMusicPlus
Large Ensemble Bass Guitar,Bass Trombone,Cello,Cymbals,Double Bass,Drum Set,Electric Guitar,Flute,Harmonica,Harpsichord,Percussion,Piano,Synthesizer,Timpani,Tru...
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Large Ensemble Bass Guitar,Bass Trombone,Cello,Cymbals,Double Bass,Drum Set,Electric Guitar,Flute,Harmonica,Harpsichord,Percussion,Piano,Synthesizer,Timpani,Trumpet,Viola,Violin,Voice - Level 5 - Digital Download SKU: A0.990715 Composed by SR.Pakpahan,SST. Arranged by Liric : SR.Pakpahan,SST. Christian,Contemporary,Musical/Show,New Age,World. Score and parts. 7 pages. SR.Pakpahan,SST #3372761. Published by SR.Pakpahan,SST (A0.990715). PMD Music CreationBangsa Israel digambarkan sebagai kebun anggur pilihan, miliknya Tuhan Allah(The Israelites are portrayed as the vineyard of choice, his Lord God)
$1.99 ≈
£1.52
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 1 - Eighths
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00 ≈
£7.61
Pitch Only - Treble Clef (Sight Reading Exercise Book)
Pitch Only - Treble Clef (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Pitch Only - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,O...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - Digital Download SKU: A0.931837 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313613. Published by Dots and Beams (A0.931837). This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years.
$10.00 ≈
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MENANG ASIAN GAMES 2018
MENANG ASIAN GAMES 2018
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SR
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SR
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MENANG ASIAN GAMES 2018
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SR.Pakpahan,SST
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SheetMusicPlus
Large Ensemble Bass Drum,Bass Guitar,Cello,Cymbals,Drum Set,Electric Guitar,Harmonica,Harpsichord,Marimba,Piano,Saxophone,Trumpet,Viola,Violin,Voice,Xylophone -...
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Large Ensemble Bass Drum,Bass Guitar,Cello,Cymbals,Drum Set,Electric Guitar,Harmonica,Harpsichord,Marimba,Piano,Saxophone,Trumpet,Viola,Violin,Voice,Xylophone - Level 5 - Digital Download SKU: A0.990708 Composed by SR.Pakpahan,SST. Arranged by SR.Pakpahan,SST. Contemporary,Instructional,Musical/Show,New Age,World. Score and parts. 111 pages. SR.Pakpahan,SST #2059769. Published by SR.Pakpahan,SST (A0.990708). MP3 song is created with Musescore (output MSCZ is exported and converted to MP3).18th ASIAN GAMES 2018 IN INDONESIA, JAKARTA-PALEMBANG 18-08-2018 - 02-09-2018.
$18.80 ≈
£14.31
Electric Nocturnes Book 6
Electric Nocturnes Book 6
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Contemporary
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Garry DW Judd
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Electric Nocturnes Book 6
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The Artful Music Publishing Company
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Choir,Clarinet,Double Bass,Drum Set,Drums,Engli...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Choir,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - Digital Download SKU: A0.1012892 Composed by Garry DW Judd. Contemporary. Score and parts. 11 pages. The Artful Music Publishing Company #6209915. Published by The Artful Music Publishing Company (A0.1012892). Secret title, Realbook. This book contains the chord symbols taken from previous variations of the original ten Electric Nocturnes. Performers are encouraged to interpret them as they wish...Any combinations of instrumentation and with improvisation if they wish. More info at www.garrydwjudd.com/electric-nocturnes.
$4.99 ≈
£3.80
Waltz for Dina
Waltz for Dina
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Mikael Elsila
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Waltz for Dina
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Mikael A Elsila
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,English Horn,Euphonium,Flu...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,English Horn,Euphonium,Flute,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.922800 Composed by Mikael Elsila. Folk,Jewish,World. Score and parts. 2 pages. Mikael A Elsila #6402707. Published by Mikael A Elsila (A0.922800). This is another catchy tune by Mikael Elsila in his trademark minimalist improvisational style. Listen to the YouTube clip (find the link on this page) and have fun with this piece! Mikael Elsila's compositions are designed to be stepping-stones for your own creative improvisations. The name of the game is FUN!
$1.99 ≈
£1.52
MENANG ASIAN GAMES 2018
MENANG ASIAN GAMES 2018
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SR
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SR
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MENANG ASIAN GAMES 2018
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SR.Pakpahan,SST
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SheetMusicPlus
Large Ensemble Bass Drum,Bass Guitar,Cello,Cymbals,Drum Set,Electric Guitar,Harmonica,Harpsichord,Marimba,Piano,Saxophone,Trumpet,Viola,Violin,Voice,Xylophone -...
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Large Ensemble Bass Drum,Bass Guitar,Cello,Cymbals,Drum Set,Electric Guitar,Harmonica,Harpsichord,Marimba,Piano,Saxophone,Trumpet,Viola,Violin,Voice,Xylophone - Level 5 - Digital Download SKU: A0.990707 Composed by SR.Pakpahan, SST. Arranged by SR.Pakpahan, SST. Contemporary,Jazz,Musical/Show,New Age,World. Score and parts. 126 pages. SR.Pakpahan,SST #2072555. Published by SR.Pakpahan,SST (A0.990707). MP3 Song is created with MUSESCORE.18th ASIAN GAMES 2018 IN INDONESIA, JAKARTA-PALEMBANG 18-08-2018 - 02-09-2018
$18.80 ≈
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looking out
looking out
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Davion L Gowie, Najay Randy We
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looking out
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Davion Gowie
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SheetMusicPlus
Alto Recorder,Alto Saxophone,Alto Voice,Banjo,Baritone Horn TC,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bass Voice,Bassoon,Cello,Choir,Clarinet,Double B...
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Alto Recorder,Alto Saxophone,Alto Voice,Banjo,Baritone Horn TC,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bass Voice,Bassoon,Cello,Choir,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Soprano voice,Tenor Recorder,Tenor Saxophone,Tenor Voice,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Xylophone - Digital Download SKU: A0.1072545 Composed by Davion L Gowie, Najay Randy Weston. Spiritual. Accompaniment. Duration 147. Davion Gowie ( D Signature ) #3473227. Published by Davion Gowie ( D Signature ) (A0.1072545).
$3.99 ≈
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Chord Chart 1
Chord Chart 1
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Organ, Piano (duet)
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BEGINNER
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Cristiano Vecchi
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Chord Chart 1
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Cristiano Vecchi
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SheetMusicPlus
Instrumental Duet,Piano Harpsichord,Instrumental Duet,Organ,Piano - Level 1 - Digital Download SKU: A0.963284 Composed by Cristiano Vecchi. Contemporary,...
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Instrumental Duet,Piano Harpsichord,Instrumental Duet,Organ,Piano - Level 1 - Digital Download SKU: A0.963284 Composed by Cristiano Vecchi. Contemporary,Instructional,Jazz. Score and parts. 6 pages. Cristiano Vecchi #4345971. Published by Cristiano Vecchi (A0.963284). Study about a chord built with fourths (l.h); adding all the different roots it's possible analyze it about jazz harmony principles, with enharmonical changes.The chart is transposed in all the keys.
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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)
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