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42 sheet music found Saint-Saens: The Swan for Soprano Sax & Piano
Saint-Saens: The Swan for Soprano Sax & Piano # Soprano Saxophone and Piano # EASY # Camille Saint-Saëns # James M # Saint-Saens: The Swan for Sopr # jmsgu3 # SheetMusicPlus
Piano,Soprano Saxophone - Level 2 - Digital Download SKU: A0.549121 Composed by Camille Saint-Saëns (1835 – 1921). Arranged by James M. Guthrie...(+)
Piano,Soprano Saxophone - Level 2 - Digital Download 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. Saint-Saëns: The Swan for Soprano Sax & Piano
Saint-Saëns: The Swan for Soprano Sax & Piano # Soprano Saxophone and Piano # INTERMEDIATE # Classical # Camille Saint-Saens # James M # Saint-Saëns: The Swan for Sop # jmsgu3 # SheetMusicPlus
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.1314331 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,...(+)
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.1314331 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Historic,Romantic Period. Score and part. 11 pages. Jmsgu3 #903074. Published by jmsgu3 (A0.1314331). 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. Fauré: Berceuse Op. 16 for Soprano Sax & Piano
Fauré: Berceuse Op. 16 for Soprano Sax & Piano # Soprano Saxophone and Piano # INTERMEDIATE # Classical # Gabriel Faure # James Guthrie, ASCAP # Fauré: Berceuse Op. 16 for So # jmsgu3 # SheetMusicPlus
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.551596 Composed by Gabriel Faure. Arranged by James Guthrie, ASCAP. Holiday,Instructional,Ro...(+)
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.551596 Composed by Gabriel Faure. Arranged by James Guthrie, ASCAP. Holiday,Instructional,Romantic Period,Standards. Score and part. 16 pages. Jmsgu3 #5321087. Published by jmsgu3 (A0.551596). Gabriel Fauré: Berceuse, Op. 16. Berceuse, Op. 16 is a short piece by Gabriel Fauré, written in or about 1879. Originally composed for solo violin and piano, it has been arranged for various musical forces, including violin, orchestra, and string quartet. Despite Fauré's modest assessment of the piece, it gained popularity and has been recorded by numerous artists, from Eugène Ysaÿe in 1912 to Yehudi Menuhin in the 1970s. The berceuse is not thematically related to the first movement of Fauré's Dolly Suite, which is also a berceuse. It is known for its charming and soothing melody and has become one of Fauré's best-known pieces. Pie Jesus, from Fauré's Requiem, for Soprano Saxophone and Piano
Pie Jesus, from Fauré's Requiem, for Soprano Saxophone and Piano # Soprano Saxophone and Piano # EASY # Classical # Gabriel Faure # David McKeown # Pie Jesus, from Fauré's Requi # David McKeown # SheetMusicPlus
Piano,Soprano Saxophone - Level 2 - Digital Download SKU: A0.587704 Composed by Gabriel Faure. Arranged by David McKeown. Christian,Contemporary,Romantic...(+)
Piano,Soprano Saxophone - Level 2 - Digital Download SKU: A0.587704 Composed by Gabriel Faure. Arranged by David McKeown. Christian,Contemporary,Romantic Period,Sacred,Standards. Score and part. 5 pages. David McKeown #4810591. Published by David McKeown (A0.587704). Pie Jesus is the fifth and central movement of Gabriel Fauré’s Requiem. The piece was premiered in Paris in 1888, and underwent several revisions in subsequent years. The Requiem was performed at Fauré’s own funeral in 1924, but it’s only in recent years that this gentle version of the Mass for the Dead has received the international recognition it deserves. Contemporary performances in Parisian churches required the Pie Jesus to be sung by a boy treble, but in the concert hall, Fauré always preferred a soprano voice for the part.This arrangement transcribes the orchestral score as a Solo for Soprano Saxophone with Piano accompaniment. Both the piano score and the solo part are included in the pdf file. The linked youtube performance is the clarinet version of this arrangement.Soloists at an early intermediate level and above will find this ideal for formal and informal performances. The rhythms are straightforward, and there is plenty of scope for expressive, lyrical playing. The slow tempo though will require good breath and tone control. The piano part is suitable for an intermediate player. The overall performance time is around three and a half minutes.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. Romances Sans Paroles Op. 17, No. 3 for Soprano Saxophone and Piano
Romances Sans Paroles Op. 17, No. 3 for Soprano Saxophone and Piano # Soprano Saxophone and Piano # EASY # Gabriel Faure # Diego Marani # Romances Sans Paroles Op. 17, # Diego Marani # SheetMusicPlus
Piano,Soprano Saxophone - Level 2 - Digital Download SKU: A0.1439527 Composed by Gabriel Faure. Arranged by Diego Marani. Classical,Film/TV,Instructional...(+)
Piano,Soprano Saxophone - Level 2 - Digital Download SKU: A0.1439527 Composed by Gabriel Faure. Arranged by Diego Marani. Classical,Film/TV,Instructional,Romantic Period,Wedding. Score and part. 6 pages. Diego Marani #1019537. Published by Diego Marani (A0.1439527). The three romances without words, op. 17 by Gabriel Fauré are three pieces for solo piano. They are respectively dedicated to Madame Félix Lévy, Mademoiselle Laure de Leyritz and Madame Florent Saglio.This arrangement of the third romance - the most famous of the collection - for soprano sax with piano accompaniment is suitable for any occasion: repertoire, classroom, recital, weddings or for a touching encore. His Eye is on the Sparrow (Soprano Sax and Piano)
His Eye is on the Sparrow (Soprano Sax and Piano) # Soprano Saxophone and Piano # INTERMEDIATE # Sacred music # Civilla D # John A # His Eye is on the Sparrow # John A. Dempsey # SheetMusicPlus
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.524803 Composed by Civilla D. Martin, Charles H. Gabriel. Arranged by John A. Dempsey. Chris...(+)
Piano,Soprano Saxophone - Level 3 - Digital Download SKU: A0.524803 Composed by Civilla D. Martin, Charles H. Gabriel. Arranged by John A. Dempsey. Christian,Religious,Sacred,Spiritual,Traditional. Score and part. 13 pages. John A. Dempsey #6342305. Published by John A. Dempsey (A0.524803). A perennially popular hymn, His Eye is on the Sparrow reflects the blessings of courage, comfort and calm assurance. Â Arranged as a duet for soprano sax and piano, this music is recommended for traditional church services and other worship events as a prelude, postlude, an offertory, silent prayer accompaniment or special music. Â Concert Key (Piano): Bb major. Â Soprano Sax Key: C major. Â 9 pages of music (that includes a separate two-page soprano sax part). Â Soprano Sax Level: Intermediate. Â Piano Level: Late Intermediate. Après un rêve (Fauré) for Soprano Saxophone and Piano
Après un rêve (Fauré) for Soprano Saxophone and Piano # Soprano Saxophone and Piano # EASY # Classical # Gabriel Faure # Harry Walker # Après un rêve # SCORE EDITIONS # SheetMusicPlus
Piano,Soprano Saxophone - Level 2 - Digital Download SKU: A0.1303417 Composed by Gabriel Faure. Arranged by Harry Walker. 19th Century,Contest,Festival,R...(+)
Piano,Soprano Saxophone - Level 2 - Digital Download SKU: A0.1303417 Composed by Gabriel Faure. Arranged by Harry Walker. 19th Century,Contest,Festival,Romantic Period. Score and part. 8 pages. SCORE EDITIONS #892991. Published by SCORE EDITIONS (A0.1303417). This mélodie is the first in a set of three songs, opus 7, which also comprises Hymne and Barcarolle respectively. All three were composed between 1870 and 1877, then collected and published in 1878 under the title Trois Mélodies. Not originally conceived as a song cycle, these three songs acquired this opus number much later, in the 1890s. The poem for Après un rêve was loosely adapted from an anonymous Italian text by Romain Bussine. It describes, in the form of a dream, the imaginary flight of two lovers who are head over heels in love, although the last verse brings the dreamer inexorably back to harsh reality as dawn is breaking. In this version, the composition was arranged for Soprano Saxophone and Piano by Harry Walker.