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Palladio-Violins II

This musical piece is scored for string orchestra and contains multiple sections played by violins II. It follows a repeating pattern of melodic phrases played by the violins over various time signatures and dynamics. The piece builds in intensity and volume through crescendos and accelerandos before concluding with a return to earlier melodic material.

Uploaded by

Francesca Fasolino
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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188 views2 pages

Palladio-Violins II

This musical piece is scored for string orchestra and contains multiple sections played by violins II. It follows a repeating pattern of melodic phrases played by the violins over various time signatures and dynamics. The piece builds in intensity and volume through crescendos and accelerandos before concluding with a return to earlier melodic material.

Uploaded by

Francesca Fasolino
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Violins II Palladio


        
A

          
 
 
     

   

5

                  
 
            
                        
 
8


11
                               
 

                                 
13

                                    
15
3 3 3

                               
17
B

    
  

          
          
20

               

        
 

           
         
23

              
 C

    
26

  

 
2

   
 
33

  

     
 
                
38

                

D

        


43

     

       
 
 

   
46

  

    
       
                
51

               


                  
           
54

       

  
                            
D.S. al Coda


57

         


                          
60


                                 
cresc.


62

   
                          
cresc.

 

64

 

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