Compositions
Download 475 free sheet music and scores:john cage, Sheet music, scores. The Suite for a Toy-Piano, 1948, - Cage, John - free listen online, download mp3, download sheet music. The Suite for a Toy-Piano, 1948, - Cage, John - free listen online, download mp3, download sheet music. III from Suite for Toy Piano by John Cage| Tido Music; Interactive sheet music with powerful practice tools, including annotation and auto-paging. Open or download Chrome, Firefox or Safari. Get access to III by John Cage and much more on Tido Music. Tido is available on Chrome, Firefox, Safari and on iPad.
Year | Title | ||
---|---|---|---|
1962 | 0'00' (4'33' No. 2), solo to be performed in any way by anyone | Miscellaneous (Classical) | |
1988 | Orchestral | ||
1991 | 103, for orchestra | Orchestral | |
1991 | 108, symphony for large orchestra | Orchestral | Concerto |
1991 | 109 (One8 and 108), concerto for cello & orchestra | Concerto | Concerto |
1991 | 110 (Two3 and 108), double concerto for sho, conch shells & orchestra | Concerto | Concerto: Double |
1954 | 12'55.6078', for 2 prepared pianos (condensation of 34'46.776' and 31'57.9864' played simultaneously) | Keyboard | |
1955 | 26'1.1499', for a string player | Chamber Music | |
1961 | 26'55.988' for 2 prepared pianos & string player | Chamber Music | |
1956 | 27'10.554', for percussion | Chamber Music | Open Form |
1954 | 31'57.9864', for piano | Keyboard | Character Piece |
1954 | 34'46.776', for piano | Keyboard | Character Piece |
1970 | 36 Mesostics re and not re Marcel Duchamp, for solo voice (any range) | Vocal Music | |
1952 | Avant-Garde Music | Conceptual music | |
1954 | 45', for a speaker | Miscellaneous (Classical) | |
1953 | 59 1/2', for a string player | Avant-Garde Music | Piece |
1943 | Ad Lib, for piano | Keyboard | Character Piece |
1943 | Amores, for prepared piano & 3 percussion | Chamber Music | Suite |
1942 | And the Earth Shall Bear Again, for prepared piano | Keyboard | Character Piece |
1976 | Orchestral | ||
1958 | Vocal Music | Open Form | |
1985 | Keyboard | Character Piece | |
1961 | Orchestral | Open Form | |
1940 | Bacchanale, for prepared piano | Keyboard | Open Form |
1990 | The Beatles 1962-1970, for six taped channels of piano (materials drawn from The Beatles Songbook) | Electronic/Computer Music | Electronic Music |
1972 | Electronic/Computer Music | Electronic Music | |
1944 | A Book of Music, for 2 prepared pianos | Keyboard | |
1976 | Branches, for amplified plants and any number of players | Electronic/Computer Music | Electronic Music |
1986 | But What About the Noise.., for percussion ensemble of 3-10 players | Chamber Music | |
1960 | Avant-Garde Music | Electronic Music | |
1990 | cComposed Improvisations No. 1, for solo Steinberger bass guitar | Chamber Music | Electronic Music |
1990 | cComposed Improvisations No. 2, for solo percussion | Chamber Music | |
1990 | cComposed Improvisations No. 3, for solo percussion | Chamber Music | |
1950 | A Chant with Claps, for chanter & hand-claps | Vocal Music | |
1969 | Keyboard | Solo | |
1977 | Cheap Imitation, for solo violin | Chamber Music | |
1944 | Chess Pieces, for piano | Keyboard | Character Piece |
1975 | Child of Tree, for percussionist & amplified plants | Chamber Music | |
1978 | Chorals, for violin solo | Chamber Music | |
1942 | Show/Musical | ||
1989 | Composed Improvisation, for bass guitar | Chamber Music | Improvisation |
1989 | Composed Improvisation, for snare drum | Chamber Music | Improvisation |
1934 | Composition For Three Voices, for any three instruments encompassing the ranges d to d'' | Chamber Music | |
1957 | Concerto | Concerto | |
1951 | Concerto | Concerto | |
1942 | Credo in US, for 4 percussionists | Chamber Music | |
1944 | Crete, for piano | Keyboard | Character Piece |
1945 | Dad, for piano | Keyboard | Character Piece |
1940 | Dance Music (for Elfrid Ide), for 5 percussionists | Miscellaneous (Classical) | |
1945 | Keyboard | Dance | |
1970 | Dialogues, for bass flute & percussion | Chamber Music | Duet |
1978 | A Dip in the Lake: 10 Quicksteps, 61 Waltzes, and 56 Marches for Chicago and Vicinity, for indeterminate forces | Miscellaneous (Classical) | Waltz |
1941 | Double Music, for 4 percussionists (collaboration with Lou Harrison) | Miscellaneous (Classical) | |
1948 | Keyboard | Dance | |
1983 | Vocal Music | ||
1985 | Eight Whiskus, for solo voice | Vocal Music | Open Form |
1985 | Eight Whiskus, for violin solo | Chamber Music | |
1991 | Eight, for wind octet | Chamber Music | |
1992 | Eighty, for orchestra | Orchestral | |
1965 | Electronic Music for Piano, for piano solo & electronic sounds | Keyboard | Electronic Music |
1974 | Empty Words, for reciter | Miscellaneous (Classical) | |
1988 | Essay, for computer generated tape (in 2 versions) | Electronic/Computer Music | Computer Music |
1986 | Orchestral | ||
1973 | Orchestral | ||
1975 | Keyboard | Character Piece | |
1978 | Etudes Boreales I-IV, for piano | Keyboard | Etude |
1978 | Etudes Boreales I-IV, for solo cello | Chamber Music | Etude |
1987 | Opera | Opera | |
1990 | Opera | Opera | |
1948 | Experiences No. 1, for 2 pianos | Keyboard | Dance |
1948 | Experiences No. 2, for voice | Vocal Music | |
1940 | Fads and Fancies In the Academy, for piano & 4 percussionists | Chamber Music | Dance |
1992 | Fifty-Eight, for orchestra | Orchestral | |
1939 | Chamber Music | Open Form | |
1938 | Five Songs for Contralto, for voice and piano | Vocal Music | |
1988 | Five Stone Wind, for percussion & (or without) electronics | Chamber Music | Electronic Music |
1988 | Chamber Music | Open Form | |
1991 | Five2, for english horn, 2 clarinets, bass clarinet & timpani | Chamber Music | Quintet |
1991 | Five3, for trombone & string quartet | Chamber Music | Quartet |
1991 | Five4, for 2 saxes & percussion ('in memory of Stephan Wolpe') | Chamber Music | |
1991 | Five5, for flute, 2 clarinets, bass clarinet & percussion | Chamber Music | Quintet |
1950 | Vocal Music | Open Form | |
1958 | Electronic/Computer Music | Electronic Music | |
1952 | For M. C. and D. T., for piano | Keyboard | Character Piece |
1958 | For Paul Taylor and Anita Dencks, for piano | Keyboard | Character Piece |
1942 | Vocal Music | ||
1976 | Forty-Four Harmonies (44 Harmonies), for 4 voices (from 'Apartment House 1776') | Choral | |
1977 | Forty-Nine Waltzes for the Five Boroughs, for performers, listeners or record makers | Miscellaneous (Classical) | Waltz |
1942 | Four Dances (What so prouldy we hail..), for piano, percussion & voice | Vocal Music | Dance |
1989 | Four Solos for Voice, for soprano, mezzo-soprano, tenor & bass (Solos for Voice 93-96) | Choral | |
1944 | Keyboard | Open Form | |
1989 | Four, for string quartet | Chamber Music | Quartet |
1990 | Choral | ||
1991 | Four3, for 4 performers (1 or 2 pianos, rainsticks, violin or oscillator, silence) | Chamber Music | |
1991 | Chamber Music | ||
1991 | Four5, for 4 saxophones | Chamber Music | Quartet |
1992 | Four6, for any way of producing sounds | Miscellaneous (Classical) | |
1990 | Fourteen, for piano & chamber orchestra | Concerto | Concerto |
1980 | Freeman Etudes Book 1, for solo violin | Chamber Music | Etude |
1980 | Freeman Etudes Book 2, for solo violin | Chamber Music | Etude |
1990 | Freeman Etudes Books 3 & 4, for solo violin | Chamber Music | Etude |
1980 | Furniture Music Etcetera, for 2 pianos | Keyboard | |
1991 | Haikai, for flute & zoomoozophone | Chamber Music | |
1986 | Haikai, for gamelan ensemble | Miscellaneous (Classical) | |
1951 | Haiku, pieces (5) for piano | Keyboard | Character Piece |
1991 | How to Improve the World (you will only make matters worse) | Miscellaneous (Classical) | |
1967 | Keyboard | Open Form | |
1986 | Hymnkus, for chamber ensemble, accordion & voice | Vocal Music | Open Form |
1979 | Choral | Variations | |
1939 | Electronic/Computer Music | Piece | |
1942 | Chamber Music | ||
1942 | Avant-Garde Music | Piece | |
1951 | Electronic/Computer Music | March | |
1952 | Electronic/Computer Music | ||
1939 | Chamber Music | Electronic Music | |
1948 | Keyboard | Dance | |
1942 | In the Name of the Holocaust, for prepared piano | Keyboard | Character Piece |
1961 | Miscellaneous (Classical) | ||
1977 | Inlets, for 3 players of water-filled conch shells, 1 conch-player using circular breathing, and prerecorded fire sounds | Miscellaneous (Classical) | |
1979 | James Joyce, Marcel Duchamp, Erik Satie: An Alphabet, radio play for speakers (music realized by Mykel Rouse) | Miscellaneous (Classical) | |
1942 | Jazz Study, for piano (authorship uncertain) | Keyboard | Character Piece |
1979 | Laughtears, interview (Conversation between John Cage & Klaus Schöning on Roaratorio, 1979) | Miscellaneous (Classical) | |
1949 | Lecture on Nothing, for speaker | Miscellaneous (Classical) | |
1975 | Lecture on the Weather, for 12 speaker-vocalists or instrumentalists & tape | Miscellaneous (Classical) | Electronic Music |
1980 | Vocal Music | ||
1940 | Chamber Music | ||
1938 | Metamorphosis, for piano | Keyboard | Solo |
1985 | Mirakus2, for solo voice | Vocal Music | |
1984 | Chamber Music | Open Form | |
1998 | Music for 3 Pianos, for 3 overdubbed pianos (arranged by Steffen Schleirmacher from Music for Piano 4-19) | Keyboard | |
1998 | Music for 4 Pianos, for 4 overdubbed pianos (arranged by Steffen Schleirmacher from Music for Piano 21-36) | Keyboard | |
1960 | Music for Amplified Toy Pianos, for any number of toy pianos (indeterminate) | Keyboard | |
1938 | Music for an Aquatic Ballet, for flutes, percussion & tape (reconstruction) | Ballet | Ballet |
1952 | Music for Carillon No. 1, for solo carillon | Miscellaneous (Classical) | |
1954 | Music for Carillon No. 2, for solo carillon | Miscellaneous (Classical) | |
1954 | Music for Carillon No. 3, for solo carillon (3 octaves) | Miscellaneous (Classical) | |
1961 | Music for Carillon No. 6, for piccolo & percussion (reconstruction) | Chamber Music | |
1947 | Keyboard | Film Score | |
1952 | Music for Piano 1, for piano | Keyboard | Piece |
1953 | Music for Piano 2, for piano | Keyboard | Piece |
1953 | Music for Piano 3, for piano | Keyboard | Piece |
1952 | Music for Piano 1- 85, for piano | Keyboard | |
1953 | Music for Piano 20, for piano | Keyboard | Piece |
1955 | Music for Piano 21 - 36, for piano or any number of pianos | Keyboard | Suite |
1955 | Music for Piano 37 - 52, for piano or any number of pianos | Keyboard | Suite |
1953 | Music for Piano 4 - 19, for piano or any number of pianos | Keyboard | Suite |
1956 | Music for Piano 53 - 68, for piano or any number of pianos | Keyboard | Suite |
1956 | Music for Piano 69 - 84, for piano or any number of pianos | Keyboard | Suite |
1962 | Music for Piano 85, for piano and electronics | Keyboard | Electronic Music |
1952 | Music for Piano, 1-84 | Keyboard | Collection |
1938 | Music for Wind Instruments, for wind quintet | Chamber Music | Quintet |
1951 | Keyboard | Open Form | |
1958 | Music Walk, for 1 or more pianos using radio and/or recordings | Keyboard | Electronic Music |
1945 | Mysterious Adventure, for prepared piano | Keyboard | Open Form |
1947 | Nocturne, for violin & piano | Chamber Music | Nocturne |
1985 | Nowth upon Nacht, for voice & piano | Vocal Music | |
Miscellaneous (Classical) | |||
1987 | One, for piano | Keyboard | Open Form |
1992 | One10, for violin solo | Chamber Music | |
1992 | One13, for cello solo (unfinished) | Chamber Music | |
1989 | One2, for 1- 4 pianos | Keyboard | Character Piece |
1990 | One4, for percussion | Chamber Music | |
1990 | One5, for piano | Keyboard | Character Piece |
1990 | One6, for violin solo | Chamber Music | |
1991 | One7, for piano | Keyboard | |
1991 | One8, for cello with BACH bow | Chamber Music | Character Piece |
1991 | One9, for Sho solo | Miscellaneous (Classical) | |
1942 | Opening Dance (Entrance), for piano (for Sue Laub) | Keyboard | |
1946 | Ophelia, for piano | Keyboard | Character Piece |
1987 | Organ2/ASLSP | Keyboard | Character Piece |
1943 | Our Spring Will Come | Keyboard | Character Piece |
1949 | Party Pieces (20) for 5 winds, co-composed with Henry Cowell, Lou Harrison & Virgil Thomson (orchestrated by Robert Hughes) | Miscellaneous (Classical) | |
1951 | Pastorales (2) for prepared piano | Avant-Garde Music | Pastorale |
1944 | The Perilous Night, for prepared piano | Keyboard | Dance |
1984 | Perpetual Tango, for piano | Keyboard | Tango |
1983 | Postcard From Heaven, for 1-20 harps | Chamber Music | |
1944 | Prelude for Meditation, for prepared piano | Keyboard | Prelude |
1946 | Prelude, for piano, flute, bassoon, trumpet, violin & cello ('Prelude for six instruments') | Chamber Music | |
1942 | Primitive, for string piano | Keyboard | Musical Theater |
1935 | Quartet, for 4 percussionists | Chamber Music | Quartet |
1976 | Quartets I-VIII, for 24, 41 or 93 instruments | Orchestral | Quartet |
1935 | Quest, for piano (fragment- 2nd movement only) | Keyboard | Character Piece |
1956 | Radio Music, for 8 performers & 8 radios | Electronic/Computer Music | Electronic Music |
1979 | Vocal Music | ||
1943 | A Room, for piano or prepared piano | Keyboard | Open Form |
1944 | Root of an Unfocus, for prepared piano | Keyboard | Character Piece |
1965 | Rozart Mix, for magnetic tape | Electronic/Computer Music | Computer Music |
1983 | Chamber Music | Open Form | |
1989 | Sculptures Musicales, for sounds lasting and leaving from different points | Miscellaneous (Classical) | |
1947 | Ballet | Ballet | |
1947 | The Seasons, for piano | Keyboard | Character Piece |
1940 | Chamber Music | Open Form | |
1973 | Series re Morris Graves, on Morris Graves, speaker | Miscellaneous (Classical) | |
1952 | Seven Haiku, for piano | Keyboard | Character Piece |
1988 | Seven, for flute, clarinet, percussion, piano, violin, viola & cello | Chamber Music | |
1985 | Seven2, for bass flute, bass clarinet, bass trombone, 2 percussionists, cello & contrabass | Chamber Music | Septet |
1992 | Orchestral | ||
1943 | She is Asleep, for voice, prepared piano & 4 percussion | Vocal Music | Suite |
1950 | Six Melodies, for violin & keyboard | Chamber Music | |
1934 | Six Short Inventions, for alto flute, clarinet, trumpet, violin, 2 violas & cello | Chamber Music | Septet |
1991 | Six, for 6 percussionists | Chamber Music | |
1951 | Sixteen Dances, for flute, trumpet, 4 percussionists, violin, cello & piano | Chamber Music | Dance |
1992 | Sixty-Eight, for orchestra | Orchestral | |
1971 | Sixty-Two Mesostics Re Merce Cunningham, for voice solo | Vocal Music | |
1947 | Socrate, arrangement of Erik Satie's cantata for 2 pianos | Keyboard | |
1945 | Soliloquy, for piano | Keyboard | Character Piece |
1960 | Solo for Voice 2, for solo voice (any range) | Vocal Music | |
1970 | Solo for Voice 49, Song With Electronics--Relevant: The Year Begins to Be Ripe | Vocal Music | |
1970 | Solo for Voice 52 (Aria No. 2)--Relevant | Vocal Music | |
1970 | Solo for Voice 58, 18 ragas | Vocal Music | |
1933 | Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subject of the Solo, for any 3 insts | Chamber Music | Solo |
1957 | Solo, for sliding trombone (with Frank Rehak, incorporated into 'Concert for piano & orchestra') | Chamber Music | |
1978 | Keyboard | Character Piece | |
1933 | Sonata for clarinet | Chamber Music | Sonata |
1933 | Sonata, for 2 voices, for any 2 or more instruments encompassing the ranges c' to c'' | Vocal Music | Sonata |
1948 | Keyboard | Interlude | |
1970 | Song Books Volumes I & II (Solos for Voice 3-92), for solo voice | Vocal Music | |
1985 | Sonnekus2, for voice solo | Vocal Music | |
1959 | Sounds of Venice, (for television performance) for 1 performer, 4 channels of tape and 'various properties' | Electronic/Computer Music | Electronic Music |
1984 | Souvenir, for organ | Keyboard | Character Piece |
1944 | Spontaneous Earth, for prepared piano | Keyboard | Character Piece |
1950 | Chamber Music | String Quartet | |
1963 | Orchestral | Suite | |
1948 | Keyboard | Suite | |
1989 | Swinging, for piano | Keyboard | Character Piece |
1953 | The Ten Thousand Things | Chamber Music | Open Form |
1991 | Ten, for flute, oboe, clarinet, bassoon, trumpet, trombone, percussion, piano, 2 violins, viola & cello | Chamber Music | |
1941 | Chamber Music | Open Form | |
1986 | Chamber Music | ||
1992 | Thirteen, for chamber orchestra | Chamber Music | |
1981 | Thirty Pieces for Five Orchestras | Orchestral | |
1984 | Thirty Pieces for String Quartet | Chamber Music | Quartet |
1945 | Three Dances, for 2 prepared amplified pianos | Keyboard | Dance |
1933 | Three Easy Pieces, for piano | Keyboard | Character Piece |
1935 | Three Pieces for Flute Duet | Chamber Music | |
1933 | Three Songs, for voice & piano (Gertrude Stein) | Vocal Music | |
1989 | Three, for 3 performers & a variety of recorders | Chamber Music | |
1991 | Three2, for 3 percussionists | Chamber Music | |
1943 | Tossed As It Is Untroubled, for prepared piano | Keyboard | Character Piece |
1943 | Totem Ancestor, for prepared piano | Keyboard | Character Piece |
1936 | Trio, for 3 percussionists | Chamber Music | |
1943 | Triple-Paced no. 1, for piano | Keyboard | Character Piece |
1944 | Triple-Paced no. 2, for prepared piano | Keyboard | Character Piece |
1958 | TV Köln, for piano | Keyboard | Character Piece |
1991 | Twenty-Eight, for orchestra | Orchestral | |
1991 | Twenty-Eight, Twenty-Six and Twenty-Nine, for multiple orchestras | Orchestral | |
1991 | Twenty-Nine, for 4 percussionists, piano & strings (no violins) | Concerto | Concerto |
1991 | Twenty-Six, for 26 violins | Orchestral | |
1988 | Twenty-Three, for 13 violins, 5 violas & 5 cellos | Orchestral | |
1935 | Keyboard | Character Piece | |
1946 | Two Pieces for Piano (1946) | Keyboard | Character Piece |
1987 | Two, for flute & piano | Chamber Music | |
1989 | Two2, for two pianos (indeterminate) | Keyboard | Character Piece |
1991 | Two3, for sho & 5 conch shells (one player) | Miscellaneous (Classical) | |
1991 | Chamber Music | Open Form | |
1991 | Two5, for tenor trombone & piano | Chamber Music | |
1992 | Two6, for violin & piano | Chamber Music | Open Form |
1944 | The Unavailable Memory of, for prepared piano | Keyboard | Character Piece |
1944 | A Valentine out of Season, for prepared piano | Keyboard | Piece |
1958 | Variations I, for any number of players & any sound producing means | Miscellaneous (Classical) | Variations |
1961 | Avant-Garde Music | Variations | |
1963 | Variations III, for any number of people performing any actions | Miscellaneous (Classical) | Variations |
1963 | Miscellaneous (Classical) | Variations | |
1965 | Variations V, for audio-visual performance | Electronic/Computer Music | Variations |
1966 | Variations VII, for mixed-media performance | Electronic/Computer Music | Variations |
1952 | Waiting, for piano | Keyboard | Character Piece |
1952 | Water Music, for one or more players, piano, radio, whistles, water containers & a deck of cards | Electronic/Computer Music | Electronic Music |
1959 | Water Walk, (television performance) for 1 channel of tape and 'a large number of properties' | Electronic/Computer Music | Electronic Music |
1960 | WBAI, auxiliary score for use with lecture or instrumental performance involving tapes, recordings, radios etc. | Electronic/Computer Music | Electronic Music |
1952 | Williams Mix, for 8 channels of pre-recorded tape | Electronic/Computer Music | Computer Music |
1957 | Keyboard | ||
1942 | Vocal Music | Song | |
1932 | Work(s) | Miscellaneous (Classical) | |
1950 | Works of Calder, film score for prepared piano & tape | Film Score | |
1976 | Writing for the Second Time Through Finnegans Wake, for speaker (from Roaratorio) | Avant-Garde Music | Speech |
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“Tranquility through austerity” had become Cage’s watchword by the time he composed the Suite for Toy Piano in 1948. His new musical heroes were the master miniaturists Webern and Satie and in his polemical addresses to the students he championed their sense of scale against the “deadening” monumentality of Beethoven.
![Ashton manual taper scheme for benzodiazepines](http://benzoaddictionsupport.com/wp-content/uploads/2015/01/drugged-culture-prescription-drug-abuse-in-the-USA-e1420994250342.jpeg)
Cage: “As soon as I began to study oriental philosophy, I introduced it into my music. People then were always pretending that a composer had to have something to say. So what I was saying was nothing more than what I had understood about, first of all, the philosophy of India”
(Interview with Daniel Charles in “For The Birds”).
(Interview with Daniel Charles in “For The Birds”).
The toy piano is a very limited instrument; it has not much more than an octave of diatonic notes. Cage starts by restricting this instrument even more, using only five notes in the middle of the instrument. The next three notes expand the note palette until all keys on the toy instrument can be used, and then the final movement reverts back to five notes. The music has an intimate and charming, if somewhat deliberately bland quality.
Cage enjoyed the chiming sound of the toy piano and clearly was predisposed to write for a keyboard that produced, again, hard-edged and unemotional sounds from a limited-note palette. Another factor that obviously predisposed him to write this suite was his major occupation of that year: he had gone to teach at Black Mountain College in North Carolina. (While teaching there in 1944 he had organized an event that is generally acknowledged as the first instance of what two decades later came to be called “a happening.”) His 1948 project was a 25-concert series featuring the music of French composer Erik Satie.
![Toy Toy](/uploads/1/2/4/6/124696809/125337102.jpg)