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Format Descriptions Publishers use a lot of words to describe what they sell, and we know it can be confusing. Below are descriptions of the terms that we use to describe the various formats that music often comes in. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase. Facsimile of the Autograph These are hardcover, research-quality reproductions of the original hand-written scores from the composer.
Hardcover Some publishers print a hardbound, linen-covered version in addition to the standard paperback. The music inside is identical. These editions are beautiful though rarely cheap. Orchestral Parts Similar to a wind set, this is a collection of parts.
In the case of strings, the numbers listed are the strength of the section, so Paperback When publishers offer multiple bindings e. There are not separate parts for each player. Score Full Score For ensemble music, this indicates that the edition contains all parts on a single system there are not separate parts for each player.
In larger ensembles, this is for the conductor. Set of Parts For ensemble music, this indicates that there are separate parts for each player.
Solo Part with Piano Reduction For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance. Study Score A small think choral size copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Wind Set For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated. With Audio In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
André Jolivet: Fantaisie Impromptu
His initial desire as an adolescent was to write music for the theater, which inspired his first compositions, including music for a ballet. Claude Debussy , Paul Dukas , and Maurice Ravel were to be his next influences after he heard a concert of their work in ; he composed several piano pieces while training to become a teacher before going to study with Le Flem. His further writing continues to seek the original meanings of music and its capacity for emotional, ritual, and celebratory expression. In he published a paper declaring that "true French music owes nothing to Stravinsky ", though both composers drew heavily upon themes of ancient music in their work; Jolivet and La jeune France rejected neoclassicism in favor of a less mechanical and progressive and instead a more spiritual style of composition. Later, during World War II , Jolivet shifted away from atonality and toward a more tonal and lyrical style of composition. The First Piano Sonata, written in , shows elements of both these styles. He also continued to compose for the concert hall, often inspired by his frequent travels around the world, adapting texts and music from Egypt, the Middle East, Africa, and Asia into his distinctly French style.
André Jolivet: Fantaisie Impromptu
Fantaisie-Impromptu, for saxophone (1953)
Fantaisie Impromptu - Saxophone Mib Et Piano
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