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The Way We Were Cello
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Vous avez sélectionné:
The Way We Were Cello
Partitions à imprimer
76 partitions trouvées
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The Way We Were
The Way We Were
#
2 Violoncelles (duo)
#
INTERMÉDIAIRE
#
Barbra Streisand
#
David McKeown
#
The Way We Were
#
David McKeown
#
SheetMusicPlus
Cello Duet Cello - Level 3 - SKU: A0.594408 By Barbra Streisand. By Marvin Hamlisch. Arranged by David McKeown. Broadway,Contemporary,Film/TV,Musical/Sh...
(+)
Cello Duet Cello - Level 3 - SKU: A0.594408 By Barbra Streisand. By Marvin Hamlisch. Arranged by David McKeown. Broadway,Contemporary,Film/TV,Musical/Show,Pop. Score. 3 pages. David McKeown #6607995. Published by David McKeown (A0.594408). The Way We Were is one of the best known and best loved songs performed by Barbra Streisland during her long and successful career. The song was written by Alan Bergman, Marilyn Bergman and Marvin Hamlisch for the 1973 film of the same name. It was the top selling single of the year in the US and won two Academy awards for its writers. This version is arranged as a duet for two Cellos. Click on the YouTube link above to listen to a full performances of this arrangement played on Clarinet.This version of The Way We Were is faithful to the Streisland version, with her rhythmic variations. The music is arranged in a key and range best suited to the instruments and is ideal for musicians at an intermediate level and above. Total performance time is around three minutes. Teachers will enjoy using this arrangement as a fun way to approach expressive playing and control at a slow tempo. 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
$5.99 ≈
5.57€
The Way We Were
The Way We Were
#
Violon, Violoncelle (duo)
#
INTERMÉDIAIRE
#
Barbra Streisand
#
David McKeown
#
The Way We Were
#
David McKeown
#
SheetMusicPlus
Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - SKU: A0.594410 By Barbra Streisand. By Marvin Hamlisch. Arranged by David McKeown. Broadway...
(+)
Instrumental Duet Cello,Instrumental Duet,Violin - Level 3 - SKU: A0.594410 By Barbra Streisand. By Marvin Hamlisch. Arranged by David McKeown. Broadway,Contemporary,Film/TV,Musical/Show,Pop. Score and parts. 3 pages. David McKeown #6608001. Published by David McKeown (A0.594410). The Way We Were is one of the best known and best loved songs performed by Barbra Streisland during her long and successful career. The song was written by Alan Bergman, Marilyn Bergman and Marvin Hamlisch for the 1973 film of the same name. It was the top selling single of the year in the US and won two Academy awards for its writers. This version is arranged as a duet for one Violin and one Cello. Click on the YouTube link above to listen to a full performances of this arrangement played on Clarinet.This version of The Way We Were is faithful to the Streisland version, with her rhythmic variations. The music is arranged in a key and range best suited to the instruments and is ideal for musicians at an intermediate level and above. Total performance time is around three minutes. Teachers will enjoy using this arrangement as a fun way to approach expressive playing and control at a slow tempo. 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
$5.99 ≈
5.57€
The Way We Were
The Way We Were
#
Violoncelle (partie séparée)
#
DÉBUTANT
#
Contemporain
#
Barbra Streisand
#
Kevin Busse
#
The Way We Were
#
Kevin Busse
#
SheetMusicPlus
Cello Solo - Level 1 - SKU: A0.609710 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Bu...
(+)
Cello Solo - Level 1 - SKU: A0.609710 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Busse #5376179. Published by Kevin Busse (A0.609710). This is a simple transcription of The Way We Were in the easy key of C for Cello.
$4.99 ≈
4.64€
The Way We Were
The Way We Were
#
Violoncelle (partie séparée)
#
INTERMÉDIAIRE
#
Contemporain
#
Barbra Streisand
#
Kevin Busse
#
The Way We Were
#
Kevin Busse
#
SheetMusicPlus
Cello Solo - Level 3 - SKU: A0.609676 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Bu...
(+)
Cello Solo - Level 3 - SKU: A0.609676 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Busse #5376063. Published by Kevin Busse (A0.609676). This is a simple transcription of The Way We Were in the original key for Cello.
$4.99 ≈
4.64€
The Way We Were
The Way We Were
#
Violoncelle (partie séparée)
#
FACILE
#
Contemporain
#
Barbra Streisand
#
Kevin Busse
#
The Way We Were
#
Kevin Busse
#
SheetMusicPlus
Cello Solo - Level 2 - SKU: A0.609693 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Bu...
(+)
Cello Solo - Level 2 - SKU: A0.609693 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kevin Busse. Contemporary. Individual part. 1 pages. Kevin Busse #5376117. Published by Kevin Busse (A0.609693). This is a simple transcription of The Way We Were in a good range for Cello.
$4.99 ≈
4.64€
The Way We Were - Cello
The Way We Were - Cello
#
Violoncelle
#
Jazz
#
Alan Bergman, Marilyn Bergman,
#
Larry Moore
#
The Way We Were - Cello
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By Alan Bergman, Marilyn Bergman, and Marvin Hamlisch. Arranged by Larry Moore. Orchestra. Standards. Orchestra. 1 pages. Published by Hal Leonard - Digital She...
(+)
By Alan Bergman, Marilyn Bergman, and Marvin Hamlisch. Arranged by Larry Moore. Orchestra. Standards. Orchestra. 1 pages. Published by Hal Leonard - Digital Sheet Music
$7.00 ≈
6.51€
The Way We Were
The Way We Were
#
Violoncelle, Piano
#
FACILE
#
Contemporain
#
Barbra Streisand
#
Kaiserin Rebecca
#
The Way We Were
#
Kaiserin Rebecca
#
SheetMusicPlus
Cello,Piano - Level 2 - SKU: A0.642639 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kaiserin Rebecca. Contemporary. Score and part. 4 pages. Kai...
(+)
Cello,Piano - Level 2 - SKU: A0.642639 By Barbra Streisand. By Marvin Hamlisch. Arranged by Kaiserin Rebecca. Contemporary. Score and part. 4 pages. Kaiserin Rebecca #6608243. Published by Kaiserin Rebecca (A0.642639). For cello solo and piano accompaniment with chords.
$6.99 ≈
6.50€
The Way We Were
The Way We Were
#
Violoncelle
#
Barbra Streisand
#
The Way We Were
#
Hal Leonard - Digital
#
SheetMusicPlus
(Cello) - Interactive Download SKU: HX.356783 By Barbra Streisand. This edition: Interactive Download. Love,Pop. Cello Solo. 1 pages. Published by Hal Le...
(+)
(Cello) - Interactive Download SKU: HX.356783 By Barbra Streisand. This edition: Interactive Download. Love,Pop. Cello Solo. 1 pages. Published by Hal Leonard - Digital (HX.356783).
$2.99 ≈
2.78€
The Way We Were
The Way We Were
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
INTERMÉDIAIRE
#
Contemporain
#
Barbra Streisand
#
Thomas Quigley
#
The Way We Were
#
Thomas Quigley
#
SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.731943 By Barbra Streisand. By Marvin Hamlisch. Arranged by Thomas Quigley. Contemporary. Score and pa...
(+)
String Quartet String Quartet - Level 3 - SKU: A0.731943 By Barbra Streisand. By Marvin Hamlisch. Arranged by Thomas Quigley. Contemporary. Score and parts. 8 pages. Thomas Quigley #3516633. Published by Thomas Quigley (A0.731943). Suitable for student or amateur players, this is a sensitive string arrangement which is not difficult to perform. The style is slightly jazzy at times, notably in the middle section -when the cello has the melody- and at the final cadence. The warm, rich harmonies and appropriate dynamics add to the overall expression, making this highly enjoyable to perform. .
$12.99 ≈
12.08€
The Way We Were
The Way We Were
#
Barbra Streisand
#
Eve C
#
The Way We Were
#
Zene Strings
#
SheetMusicPlus
String Ensemble,String Trio - Level 3 - SKU: A0.515919 By Barbra Streisand. By Marvin Hamlisch. Arranged by Eve C. Mailly. Contemporary,Film/TV,Pop,Stan...
(+)
String Ensemble,String Trio - Level 3 - SKU: A0.515919 By Barbra Streisand. By Marvin Hamlisch. Arranged by Eve C. Mailly. Contemporary,Film/TV,Pop,Standards,Wedding. Score and parts. 9 pages. Zene Strings #6253527. Published by Zene Strings (A0.515919). The Way We Were is more often recognized by the first word in the song -- Memories. Made famous by Barbra Streisand, the song is a favorite choice for a variety of events. This arrangement is for string trio. As with all of our trio arrangements, the middle part is included in both treble and alto clef, giving you the flexibility of performing with either two violins and a cello, or a violin, viola and cello.  From your friends at Zene Strings - enjoy!To see our other great arrangements visit: Zene Strings.  Questions or comments?  Email us at Music@ZeneSheetMusic.com.  We're here to help!
$12.99 ≈
12.08€
Stone and Steel: Cello
Stone and Steel: Cello
#
Violoncelle (partie séparée)
#
Methodes
#
Richard Meyer
#
Festival.
#
Stone and Steel: Cello
#
Alfred Music - Digital Sheet Music
#
SheetMusicPlus
String Orchestra - SKU: AX.00-PC-0017364_VC1 Cello. Composed by Richard Meyer. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #...
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String Orchestra - SKU: AX.00-PC-0017364_VC1 Cello. Composed by Richard Meyer. Instructional. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017364_VC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017364_VC1). UPC: 038081518503.Written to celebrate the 110th Anniversary of the Joliet Township High School Orchestras of Illinois, Stone and Steel is a modern concert overture by Richard Meyer that treats the listener and performer to a myriad of styles and moods. The piece begins with a heavy, ponderous theme marked Molto pesante, which depicts the limestone quarries that first earned Joliet the nickname City of Stone in the early 1800s. The mood soon changes and we can visualize huge barges laden down with stone, making their way through the city's large lift bridges and into the famous Illinois and Michigan Canal on their way to regional customers. With the construction of a steel mill in 1869, Joliet became known as the City of Steel. Stone and steel were now shipped by both canal and railroad, and this exciting new age is represented by a modern, fast-moving theme in a bright major key. The two themes, stone and steel, are then further developed, and the piece culminates in a majestic, celebratory final statement of the steel theme. (6:00)Concert/Contest; Festival.
$5.99 ≈
5.57€
Saint-Saëns: The Swan for Cello & Piano
Saint-Saëns: The Swan for Cello & Piano
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Violoncelle, Piano
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INTERMÉDIAIRE
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Classique
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Camille Saint-Saens
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James M
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Saint-Saëns: The Swan for
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jmsgu3
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.1314243 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Contest,Festival,Historic,Romantic P...
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Cello,Piano - Level 3 - SKU: A0.1314243 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Contest,Festival,Historic,Romantic Period,Wedding. Score and part. 11 pages. Jmsgu3 #902984. Published by jmsgu3 (A0.1314243). Saint-Saëns: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saëns permitted to be performed publicly during his lifetime. This is an excellent recital encore to demonstrate melodic playing and strategic phrasing. The Carnival of the AnimalsThe Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is among the fourteen most famous movements. In its entirety, it lasts about 25 minutes. Saint-Saëns BackgroundCharles-Camille Saint-Saëns 1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, include his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), and, it must be remembered, Carnival of the Animals (1886) to the list. ChildhoodIt is essential to realize that Saint-Saëns was undoubtedly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut, albeit at ten years old. Another critical point to remember is that he expressly studied at the Paris Conservatoire, then, despite reality, conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were, after all, markedly in demand - not only in Europe but, above all, in the Americas all in all as well. YouthA point often overlooked is that in his youth, Saint-Saëns was undoubtedly excited about the modern music of the day. He was, in essence, fond of the music of his contemporaries, particularly Schumann, Liszt, and, for the most part, Wagner. In contrast, however, his compositions seemed, in fact, primarily confined within the conservative classical tradition. Be that as it may, he was, at the same time, nevertheless, a scholar of musical history.CriticismOn the whole, his conservatism, in fact, ultimately brought him into frequent conflict in his later years with composers of the impressionist and, in particular, the dodecaphonic schools of musical thought. A point often overlooked is that he included neoclassical elements in his music, contrary to some critics. Furthermore, in so doing, he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly, as a non-progressive reactionary henceforth around the time of his passing. LegacySaint-Saëns taught briefly in Paris, where his students included Gabriel Fauré. Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
$32.95 ≈
30.63€
Donut Etudes vol. 3: Don’t Step in the Holes! – Cello Quartet
Donut Etudes vol. 3: Don’t Step in the Holes! – Cello Quartet
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Violoncelle (partie séparée)
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Cello Solo - Level 3 - SKU: A0.784341 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288685. Published by Slide Ride ...
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Cello Solo - Level 3 - SKU: A0.784341 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288685. Published by Slide Ride (A0.784341). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00 ≈
4.65€
Jesus Shall Reign Where'er the Sun
Jesus Shall Reign Where'er the Sun
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Piano seul
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AVANCÉ
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John Hatton
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Paul Thurmond
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Jesus Shall Reign Where'er the
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Paul Thurmond
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Th...
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Piano Solo - Level 5 - SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99 ≈
4.64€
Donut Etudes vol. 3: Don’t Step in the Holes! – String Quartet
Donut Etudes vol. 3: Don’t Step in the Holes! – String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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#
Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.784347 Composed by Joshua Hauser. Instructional. Score and parts. 110 pages. Slide ...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.784347 Composed by Joshua Hauser. Instructional. Score and parts. 110 pages. Slide Ride #5288705. Published by Slide Ride (A0.784347). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$12.50 ≈
11.62€
18 Gospel Hymns Vol.2 for Solo Cello and Piano
18 Gospel Hymns Vol.2 for Solo Cello and Piano
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Violoncelle, Piano
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FACILE
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Musique Sacrée
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Gospel Spirituel
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Various
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David McKeown
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18 Gospel Hymns Vol.2 for Solo
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David McKeown
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SheetMusicPlus
Cello,Piano - Level 2 - SKU: A0.592608 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and par...
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Cello,Piano - Level 2 - SKU: A0.592608 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and part. 49 pages. David McKeown #6404425. Published by David McKeown (A0.592608). 18 Easy Gospel Hymns Vol.2 for Solo Cello and Piano is a beautiful collection of your best-loved Gospel Hymns and Spirituals. They are arranged simply in the most suitable range and key for the solo instrument. The preview only shows a few pages of the piano score, but this is followed by a separate solo instrumental part, adding up to 49 pages of quality music.The standard is early intermediate. Players with a year or two’s experience will enjoy playing these Gospel hymns, with plenty of interest in both the solo and the piano parts. These hymns are ideal for use in concerts or worship, formal or informal. The hymns are in alphabetical order and are as follows· O Mary Don’t You Weep, · O When the Saints, · Old Time Religion, · Onward Christian Soldiers, · Rock of Ages, · Shall We Gather at the River, · Stand Up, Stand Up for Jesus, · Standing in the Need of Prayer, · Swing Low Sweet Chariot, · Steal Away, · There is a Fountain Filled with Blood, · There is Power in the Blood, · This Little Light of Mine, · Wade in the Water, · Were You There? · What a Friend We Have in Jesus, · When the Roll Is Called Up Yonder, · When We All Get to Heaven. If you like these Gospel Hymns, then there are another eighteen just like them in Volume 1. To find them copy and paste 18 Easy Gospel Hymns Vol.1 for Solo Cello and Piano in the Search Bar above. There are also duet versions of these Gospel hymns available on Sheet Music Plus, and more advanced duet arrangements of your Gospel favourites in the 10 Gospel Duets series.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.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
$8.49 ≈
7.89€
10 Christmas Carols (Book ONE) - Cello Quartet
10 Christmas Carols (Book ONE) - Cello Quartet
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4 Violoncelles
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Noël
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MARCOS LUIZ MENDES FEITOSA
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MARCOS LUIZ MENDES FEITOSA
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10 Christmas Carols
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Marcos Luiz Mendes Feitosa
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SheetMusicPlus
String Quartet Cello,String Quartet - SKU: A0.506065 By MARCOS LUIZ MENDES FEITOSA. By Felix Bartholdy Mendelssohn, Franz Xaver Gruber, Georg Friederich...
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String Quartet Cello,String Quartet - SKU: A0.506065 By MARCOS LUIZ MENDES FEITOSA. By Felix Bartholdy Mendelssohn, Franz Xaver Gruber, Georg Friederich Händel, James Lord Pierpont, James Ramsey Murray, John Francis Wade, Lewis Redner, Traditional English, Traditional French, and Traditional Welsh. Arranged by MARCOS LUIZ MENDES FEITOSA. Christmas,Multicultural,Praise & Worship,Sacred,Traditional,World. Score and parts. 107 pages. Published by Marcos Luiz Mendes Feitosa (A0.506065). In this special Christmas book, 10 known and most traditional Christmas songs are gathered here: Jingle Bells, We Wish You A Merry Christmas, Adeste Fideles, Joy To The World, Hark The Herald Angels Sing, Gloria in Excelsis Deo, O Little Town of Bethlehem, Silent Night, Away in a Manger and Deck the Halls, which were adapted for Cello Quartet, they makes us travel through this time of celebration, joy and harmony between peoples and makes us feel the true spirit of Christmas!
$45.40 ≈
42.21€
Jesus Is The Way (Anthem) - Orchestration
Jesus Is The Way (Anthem) - Orchestration
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Orchestre
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INTERMÉDIAIRE
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Musique Sacrée
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Gospel Spirituel
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Christopher R
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Jesus Is The Way
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Christopher Brown
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.747198 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 77 pages. Christo...
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Full Orchestra - Level 3 - SKU: A0.747198 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 77 pages. Christopher Brown #4628085. Published by Christopher Brown (A0.747198). About the song: In John 14, Jesus says, I am the way, the truth and the life. No one comes to the Father except through me. We are severely mistaken if we think that any other road leads to peace with God. No amount of good deeds could pay for the debt we owe. But we are also mistaken if we think that we are too far gone from Christ's reach. This song is a message for both the self-righteous and the hopeless. There is a Way that leads to life forevermore with our Heavenly Father, and His Name is Jesus Christ. All who enter through the gate of Christ by faith will be saved. He came that you might have life, and have it to the full. Rejoice! If you can believe, believe!Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.Please Note:You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.Included in your Purchase:Full ScoreChoral Score (SATB with Solo)Piano AccompanimentRhythm ChartDrumsetFlute 1, 2Oboe (opt. Soprano Sax doubles)Clarinet 1, 2Horn 1, 2 (opt. Alto Sax doubles)Trumpet 1, 2Trumpet 3Trombone 1, 2 (opt. Tenor Sax doubles)Trombone 3/ Tuba (opt. Bari Sax doubles)Percussion 1, 2HarpViolin 1, 2ViolaCelloString Bass (opt. Bass Clarinet/ Bassoon doubles)Lyrics:Verse 1There’s a way that seems right to the human eye,A path that we think is best.We pretend to go on believing,That a good life can pass the test.But the best that we have to offer,Is no more than a filthy rag.When we stand before God, the Father,There is only one Name that will save.Chorus 1Jesus is The Way,Jesus is The Truth,Jesus is The Life for me and you.Jesus is The Door,And all who enter through,Will be saved and be made new.Jesus is The Way.Verse 2We were shackled in chains of sin and shame,Walking blinded by selfish gain.Every turn led to disappointment,Wanting more with each passing day.Prechorus 2But the blood of a precious Saviour,Can remove every guilty stain.He will carry your ev’ry burden,There is hope in Him today!Chorus 2Jesus is The Way,Jesus is The Truth,Jesus is The Life for me and you.Jesus is The Door,And all who enter through,Will be saved and be made new.Jesus is The Way,Jesus is The Way.BridgeStraight and narrow is the road that leads to life forevermore,There’s only One Who paid the price,The perfect, spotless sacrifice,Only Jesus Christ!Chorus 3Jesus is The Way,Jesus is The Truth,Jesus is The Life for me and you.Jesus is The Door,And all who enter through,Will be saved and be made new.Jesus is The Way,Jesus is The Way,Jesus is The Way!
$49.99 ≈
46.48€
All We Do
All We Do
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Quatuor à cordes: 2 violons, alto, violoncelle
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FACILE
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Oh Wonder
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Graham Boag
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All We Do
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Graham Boag
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - SKU: A0.1206658 By Oh Wonder. By Oh Wonder. Arranged by Graham Boag. 20th Century,Classical...
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String Quartet Cello,String Quartet,Viola,Violin - Level 2 - SKU: A0.1206658 By Oh Wonder. By Oh Wonder. Arranged by Graham Boag. 20th Century,Classical,Contemporary,Film/TV. Score and parts. 11 pages. Graham Boag #804840. Published by Graham Boag (A0.1206658). Oh Wonder is the debut studio album by English alt-pop duo Oh Wonder, self-released on 4 September 2015. The album is the accumulation of singles released monthly throughout 2014–2015, in addition to two unreleased songs.The song All We Do is featured in the opening credits of the ITV crime drama Unforgotten, at the end of the Miss Taken episode of the CBS drama Elementary, in an episode of ITV's Coronation Street, and in the 2015 MTV American slasher horror series Scream. Scream also featured the song Shark in season 1 episode 2, and Technicolor Beat in season 1 episode 5. The song Drive was used in the pilot episode of the 2015 BBC drama Doctor Foster. “White Blood was featured in season 3, episode 2 of The CW drama Reign. The first verse of the song Landslide was sampled in rapper Lil Uzi Vert's song The Way Life Goes from their album Luv Is Rage 2, as well as retaining some of the original vocals, so Oh Wonder are credited as featured artists on the song. Unforgotten is a British crime drama television series, which initially aired on ITV on 8 October 2015. It was created and written by Chris Lang and directed by Andy Wilson. The programme follows a team of London detectives led by DCI Cassie Stuart (Nicola Walker) (Series 1–4), DCI Jess James (Sinéad Keenan) (Series 5) and DI Sunny Khan (Sanjeev Bhaskar) as they solve cold cases of disappearance and murder. Each series consists of six episodes. Series 1 to 4 were broadcast in the UK in 2015, 2017, 2018 and 2021. On 30 March 2021 a fifth series was announced, scheduled for release in 2023, and it was confirmed that Sanjeev Bhaskar would reprise his role. A year later it was confirmed that Sinéad Keenan would replace Walker as Bhaskar's new partner, DCI Jessica Jessie James. Filming for the fifth series began on 14 March 2022. The first episode of series 5 premiered on ITV in February 2023.Each series deals with a new case, introducing seemingly unconnected characters who are gradually revealed to have some relationship with the victim. As the murder mystery unfolds, the emotional ramifications of the crime on the lives of those affected are also explored. Unforgotten has received critical acclaim. Tom Courtenay won the 2016 BAFTA TV Award for Best Supporting Actor for the first series and Mark Bonnar won the 2017 BAFTA Scotland for Best Actor in Television for the second series. Â
$15.99 ≈
14.87€
Saint-Saens: The Swan for Soprano Sax & Piano
Saint-Saens: The Swan for Soprano Sax & Piano
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Saxophone Soprano et Piano
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FACILE
#
Camille Saint-Saëns
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James M
#
Saint-Saens: The Swan for Sopr
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jmsgu3
#
SheetMusicPlus
Piano,Soprano Saxophone - Level 2 - SKU: A0.549121 Composed by Camille Saint-Saëns (1835 – 1921). Arranged by James M. Guthrie, ASCAP. Instruc...
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Piano,Soprano Saxophone - Level 2 - SKU: A0.549121 Composed by Camille Saint-Saëns (1835 – 1921). Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 9 pages. Jmsgu3 #3452273. Published by jmsgu3 (A0.549121). Saint-Saens: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. Duration: 2:50 Score: 5 pg, 28 ms. Solo part: 1 pg. Piano part: 3 pg. Performance: Level: Early intermediate and up. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saens permitted to be performed in public during his lifetime. This is an excellent recital encore choice to demonstrate melodic playing and strategic phrasing. The Carnival of the Animals The Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is one of the most popular of the fourteen movements. In its entirety, it lasts about 25 minutes. Saint-Saëns Background Charles-Camille Saint-Saëns (1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, including his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), it must be remembered, Carnival of the Animals (1886) to the list. Childhood It is important to realize that Saint-Saëns was certainly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut albeit at ten years old. Another key point to remember is that he expressly studied at the Paris Conservatoire, then in spite of reality conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were after all markedly in demand - not only in Europe but above all in the Americas all in all as well. Youth A point often overlooked is that in his youth, Saint-Saëns was certainly excited about the modern music of the day. He was in essence fond of the music of his contemporaries, in particular, Schumann, Liszt, and for the most part Wagner. In contrast, however, his own compositions seemed in fact largely confined within the conservative classical tradition. Be that as it may, he was at the same time nevertheless, in fact, a scholar of musical history. Criticism On the whole, his conservatism in fact ultimately brought him into frequent conflict in his later years with composers of the impressionist and in particular the dodecaphonic schools of musical thought.  A point often overlooked is that he included neoclassical elements in his music contrary to some critics. Furthermore, in so doing he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly so, as a non-progressive reactionary henceforth around the time of his passing. Legacy To sum up, Saint-Saëns taught for a short time in Paris, where his students included namely Gabriel Fauré. To clarify, Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
$32.95 ≈
30.63€
Saint-Saens: The Swan for Viola and Piano
Saint-Saens: The Swan for Viola and Piano
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Alto, Piano
#
INTERMÉDIAIRE
#
Classique
#
Camille Saint-Saens
#
James M
#
Saint-Saens: The Swan for Viol
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jmsgu3
#
SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.1254033 Composed by Camille Saint-Saens. Arranged by James M. Guthrie, ASCAP. 19th Century,Chamber,Contest,Festival,Hist...
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Piano,Viola - Level 3 - SKU: A0.1254033 Composed by Camille Saint-Saens. Arranged by James M. Guthrie, ASCAP. 19th Century,Chamber,Contest,Festival,Historic,Romantic Period. Score and part. 9 pages. Jmsgu3 #847646. Published by jmsgu3 (A0.1254033). Saint-Saëns: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saëns permitted to be performed publicly during his lifetime. This is an excellent recital encore to demonstrate melodic playing and strategic phrasing.The Carnival of the AnimalsThe Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is among the fourteen most famous movements. In its entirety, it lasts about 25 minutes.Saint-Saëns BackgroundCharles-Camille Saint-Saëns 1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, include his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), and, it must be remembered, Carnival of the Animals (1886) to the list.ChildhoodIt is essential to realize that Saint-Saëns was undoubtedly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut, albeit at ten years old. Another critical point to remember is that he expressly studied at the Paris Conservatoire, then, despite reality, conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were, after all, markedly in demand - not only in Europe but, above all, in the Americas all in all as well.YouthA point often overlooked is that in his youth, Saint-Saëns was undoubtedly excited about the modern music of the day. He was, in essence, fond of the music of his contemporaries, particularly Schumann, Liszt, and, for the most part, Wagner. In contrast, however, his compositions seemed, in fact, primarily confined within the conservative classical tradition. Be that as it may, he was, at the same time, nevertheless, a scholar of musical history.CriticismOn the whole, his conservatism, in fact, ultimately brought him into frequent conflict in his later years with composers of the impressionist and, in particular, the dodecaphonic schools of musical thought. A point often overlooked is that he included neoclassical elements in his music, contrary to some critics. Furthermore, in so doing, he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly, as a non-progressive reactionary henceforth around the time of his passing.LegacySaint-Saëns taught briefly in Paris, where his students included Gabriel Fauré. Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
$34.95 ≈
32.49€
Saint-Saëns: The Swan for French Horn & Piano
Saint-Saëns: The Swan for French Horn & Piano
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Cor et Piano
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INTERMÉDIAIRE
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Classique
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Camille Saint-Saens
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James M
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Saint-Saëns: The Swan for
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jmsgu3
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SheetMusicPlus
French Horn,Piano - Level 3 - SKU: A0.1313124 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Roman...
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French Horn,Piano - Level 3 - SKU: A0.1313124 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Romantic Period,Wedding. Score and part. 9 pages. Jmsgu3 #901955. Published by jmsgu3 (A0.1313124). Saint-Saëns: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saëns permitted to be performed publicly during his lifetime. This is an excellent recital encore to demonstrate melodic playing and strategic phrasing.The Carnival of the AnimalsThe Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is among the fourteen most famous movements. In its entirety, it lasts about 25 minutes.Saint-Saëns BackgroundCharles-Camille Saint-Saëns 1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, include his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), and, it must be remembered, Carnival of the Animals (1886) to the list.ChildhoodIt is essential to realize that Saint-Saëns was undoubtedly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut, albeit at ten years old. Another critical point to remember is that he expressly studied at the Paris Conservatoire, then, despite reality, conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were, after all, markedly in demand - not only in Europe but, above all, in the Americas all in all as well.YouthA point often overlooked is that in his youth, Saint-Saëns was undoubtedly excited about the modern music of the day. He was, in essence, fond of the music of his contemporaries, particularly Schumann, Liszt, and, for the most part, Wagner. In contrast, however, his compositions seemed, in fact, primarily confined within the conservative classical tradition. Be that as it may, he was, at the same time, nevertheless, a scholar of musical history.CriticismOn the whole, his conservatism, in fact, ultimately brought him into frequent conflict in his later years with composers of the impressionist and, in particular, the dodecaphonic schools of musical thought. A point often overlooked is that he included neoclassical elements in his music, contrary to some critics. Furthermore, in so doing, he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly, as a non-progressive reactionary henceforth around the time of his passing.LegacySaint-Saëns taught briefly in Paris, where his students included Gabriel Fauré. Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
$32.95 ≈
30.63€
Saint-Saëns: The Swan for Bass Clarinet & Piano
Saint-Saëns: The Swan for Bass Clarinet & Piano
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Clarinette Basse
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INTERMÉDIAIRE
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Classique
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Camille Saint-Saens
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James M
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Saint-Saëns: The Swan for
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jmsgu3
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SheetMusicPlus
Bass Clarinet,Instrumental Solo - Level 3 - SKU: A0.1314265 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,...
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Bass Clarinet,Instrumental Solo - Level 3 - SKU: A0.1314265 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Historic,Wedding. Individual part. 11 pages. Jmsgu3 #903006. Published by jmsgu3 (A0.1314265). Saint-Saëns: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saëns permitted to be performed publicly during his lifetime. This is an excellent recital encore to demonstrate melodic playing and strategic phrasing.The Carnival of the AnimalsThe Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is among the fourteen most famous movements. In its entirety, it lasts about 25 minutes.Saint-Saëns BackgroundCharles-Camille Saint-Saëns 1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, include his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), and, it must be remembered, Carnival of the Animals (1886) to the list.ChildhoodIt is essential to realize that Saint-Saëns was undoubtedly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut, albeit at ten years old. Another critical point to remember is that he expressly studied at the Paris Conservatoire, then, despite reality, conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were, after all, markedly in demand - not only in Europe but, above all, in the Americas all in all as well.YouthA point often overlooked is that in his youth, Saint-Saëns was undoubtedly excited about the modern music of the day. He was, in essence, fond of the music of his contemporaries, particularly Schumann, Liszt, and, for the most part, Wagner. In contrast, however, his compositions seemed, in fact, primarily confined within the conservative classical tradition. Be that as it may, he was, at the same time, nevertheless, a scholar of musical history.CriticismOn the whole, his conservatism, in fact, ultimately brought him into frequent conflict in his later years with composers of the impressionist and, in particular, the dodecaphonic schools of musical thought. A point often overlooked is that he included neoclassical elements in his music, contrary to some critics. Furthermore, in so doing, he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly, as a non-progressive reactionary henceforth around the time of his passing.LegacySaint-Saëns taught briefly in Paris, where his students included Gabriel Fauré. Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
$32.95 ≈
30.63€
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The Way We Were Cello
