Partitions Numériques de Be Prepared pour Alto, Piano

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Be Prepared
Non classifié 106

Piano & claviers
Piano seul 33
Piano, Voix et Guitare 21
Piano Facile 10
Piano, Voix 9
Piano grosses notes 5

Orgue 5
Instruments en Do 4
2 Pianos, 4 mains 3
Piano Quintette: piano, 2 violons, alto, violoncelle 2
Piano Quatuor: piano, violon, alto, violoncelle 1
Piano Trio: piano, violon, violoncelle 1

+ 6 instrumentations

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Guitares
Guitare notes et tablatures 7
Ukulele 5
Mandoline 3
Piano, Guitare (duo) 1
Basse electrique 1

Ligne De Mélodie, (Paroles) et Accords 1
Guitare 1

+ 2 instrumentations

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Voix
Chorale SATB 27
Chorale 3 parties 10
Chorale Unison 4
Chorale TTBB 4
Voix Alto, Piano 1

Chorale 2 parties 1
Voix Soprano 1

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Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 6
Quatuor de Saxophones: 4 saxophones 5
Flûte traversière 5
Quintette de Saxophone: 5 saxophones 4
Flûte, Hautbois, Clarinette, Basson 4

Saxophone Alto et Piano 3
Hautbois, Piano (duo) 2
Saxophone Soprano et Piano 2
Quatuor de Clarinettes: 4 clarinettes 1
Clarinette et Piano 1
Clarinette 1
Saxophone Baryton, Piano 1
Saxophone Tenor et Piano 1
Quintette de Clarinettes: 5 clarinettes 1
Quatuor de Flûtes à bec 1
Flûte traversière et Piano 1
Ensemble de saxophones 1

+ 12 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 8
Quatuor de Cuivres : 2 trompettes, trombone, tuba 4
Trompette 2
Trompette, Trombone, Piano 1
Ensemble de Trombones 1

Trombone et Piano 1

+ 1 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 12
Violon et Piano 4
Alto, Piano 4

Violoncelle 3
Trio à Cordes: 2 violons, violoncelle 3

Violon, Violoncelle (duo) 3
Violoncelle (partie séparée) 2
Trio à Cordes: violon, alto, violoncelle 2
Violon 2
2 Violoncelles (duo) 1
2 Violons (duo) 1
Violon, Alto (duo) 1

+ 7 instrumentations

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Percussions & orchestre
Orchestre 10
Orchestre d'harmonie 10
Orchestre à Cordes 7
Ensemble de cuivres 6
Cloches 5

Orchestre de chambre 2
Ensemble de Percussions 2
Batterie 1
Orchestre, Violon 1
Ensemble Jazz 1

+ 5 instrumentations

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Be Prepared

Alto, Piano

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4 partitions trouvées

Korsakov: Flight of the Bumblebee for Viola & Piano

Korsakov: Flight of the Bumblebee for Viola & Piano #Alto, Piano #AVANCÉ #Classique #Contemporain #Nikolay Andreyevich Rimsky-Kor #James M #Korsakov: Flight of the Bumble #jmsgu3 #SheetMusicPlus

Piano,Viola - Level 5 - SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Peri...(+)

Piano,Viola - Level 5 - SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 17 pages. Jmsgu3 #3473581. Published by jmsgu3 (A0.549240). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 11 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but great recital encore! Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive. Â Korsakov Background Nikolai Rimsky-KorsakovÂ (1844 â€“1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire. Â Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.Â Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â

$32.95 ≈ 30.33€

Fauré: Élégie Op. 24 for Viola & Piano

Fauré: Élégie Op. 24 for Viola & Piano #Alto, Piano #INTERMÉDIAIRE/AVANCÉ #Classique #Gabriel Faure #James M #Fauré: Élé #jmsgu3 #SheetMusicPlus

Piano,Viola - Level 4 - SKU: A0.549724 Composed by Gabriel Faure. Arranged by James M. Guthrie, ASCAP. Contemporary,Multicultural,Romantic Period,Standa...(+)

Piano,Viola - Level 4 - SKU: A0.549724 Composed by Gabriel Faure. Arranged by James M. Guthrie, ASCAP. Contemporary,Multicultural,Romantic Period,Standards,World. Score and part. 22 pages. Jmsgu3 #3531351. Published by jmsgu3 (A0.549724). Duration: ca. 7:00, Score: 12 pages, solo part: 2 pages, piano: 7 pages. An epic choice for a recital or funeral. FaurÃ© Background: In the first place, Gabriel FaurÃ© 1845 â€“1924) was a famous French composer, musician, and educator. Furthermore, his musical ideas influenced numerous 20th-century composers. Therefore, historians regard him as one of the leading French composers of his time. Famous Works: Among his most famous compositions, by and large, are the Pavane, Elegie (op. 24), Requiem, Sicilienne, Nocturnes for piano and the songs AprÃ¨s un rÃªve and Clair de lune. Inasmuch as his early works are well-known and relatively easy to perform, Faureâ€™s music seems to have become gradually more difficult during his later life. In other words, his later works are somewhat esoteric and complex. Early Home Life: FaurÃ© was in fact born into a well-cultivated family. His aptitude for music became particularly clear early on - when he was still a boy. Under these circumstances, his parents sent him to a music institution in Paris. Consequently, the training he received there prepared him for a career as a church organist and choirmaster. Middle Life: It is important to realize that FaurÃ© studied music composition with the French musical mastermind Camille Saint-SaÃ«ns, who became his lifelong friend. FaurÃ© eventually graduated from college and earned a living as an organist and educator. During this period, he had, on the whole, little time to compose. He consequently became more successful in his middle age, becoming organist of the Ã‰glise de la Madeleine and director of the Paris Conservatoire. However, he still needed time on balance for composing. Therefore, given these points, he withdrew to the countryside during the summer to focus on composing. Later Life: FaurÃ© was, in the final analysis, recognized in France as the foremost French composer of his time. The French government held a national musical tribute particularly for him in Paris. The French President notably headed the ceremony. Elsewhere, on the contrary, FaurÃ©'s music was slow to become accepted, except of course, in England. Legacy: Historians often describe FaurÃ©'s music in general as a transition between the end of Romanticism and the beginning of modernism. As an illustration, when FaurÃ© was born, Chopin was still composing. However, by the time of FaurÃ©'s death, jazz and atonal music, in particular, had come to fruition. FaurÃ©, by all means, suffered from increasing deafness in his later years. Some musicologists believe this to be indeed the cause of the esoteric nature of Faureâ€™s final works.

$32.95 ≈ 30.33€

The Water is Wide for Viola & Piano

The Water is Wide for Viola & Piano #Alto, Piano #FACILE #Contemporain #Traditional Scottish #James M #The Water is Wide for Viola & #jmsgu3 #SheetMusicPlus

Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoire, Technique Training, Easter, Lent. Score, Set of Parts. 17 pag...(+)

Composed by Traditional Scottish. Arranged by James M. Guthrie. Christian, Repertoire, Technique Training, Easter, Lent. Score, Set of Parts. 17 pages. Published by jmsgu3
The Water Is Wide (O Waly Waly)
Duration: 5:24
Score: 10 pg. 121 ms., MM quarter = 94, final verse MM quarter = 80, common time
Solo part: 3 pg.
Piano part: 4 pg.

A thought-provoking arrangement of a Traditional Scottish Folksong. Probably most widely known as "The Water Is Wide,"
it is also well known by it's more ancient title: "O Waly Waly." The tune is also known as " When I Survey the Wondrous Cross," and "The Gift of Love."
This is an original arrangement from the ground up.

Programming:
If you are looking for something with new contrapuntal and harmonic adventures for a Lenten prelude or a meditation during Holy Week, this will fit the bill.
It could also work well in a recital setting because it fits well on the instrument, and provides a chance to show off long, sensitive musical phrases.
Some of the figures in the descant verse are a wee-bit more advanced so, this is for intermediate players rather than beginners.

Keep in mind these performance ideas:
1. It's a simple tune that needs to unfold in the due course of time, so don't rush it. A slight ritardando at the end of each verse may help if you want to further delineate the verses.
2. There is a lot of interesting counterpoint here, so be prepared to give-and-take on the dynamics more than what I have indicated.
3. The final verse is much slower and more mysterious, and the dynamics are crucial - the quieter the better. Piano - the last chord: take your time on the roll, make it nice and slow.

Synopsis of the arrangement:
verse 1: Simple quiet duet with the melody in the solo instrument.
verse 2: Melody in the solo instrument accompanied by a 2-part canon in the piano.
verse 3: Melody in the piano in 4-part harmony.
verse 4: 3-part canon on the melody (with a free accompaniment voice).
verse 5: 2-part canon with a free accompaniment in the solo part
verse 6: Melody in octaves with free bass in octaves; descant in the solo part - loudest verse.
verse 7: Very quiet ending verse - Modulates down a fourth, melody in the solo part accompanied by simple quartal/quintal
piano clusters over bass chords that suggest submerged church bells.

For better insight into the performance of this music: express the emotion indicated by the lyrics:

The Water Is Wide:
The water is wide, I cannot get over
Neither have I wings to fly
Give me a boat that can carry two
And both shall row, my love and I
A ship there is and she sails the sea
She's loaded deep as deep can be
But not so deep as the love I'm in
I know not if I sink or swim
I leaned my back against an oak
Thinking it was a trusty tree
But first it bent and then it broke
So did my love prove false to me
I reached my finger into some soft bush
Thinking the fairest flower to find
I pricked my finger to the bone
And left the fairest flower behind
Oh love be handsome and love be kind
Gay as a jewel when first it is new
But love grows old and waxes cold
And fades away like the morning dew
Must I go bound while you go free
Must I love a man who doesn't love me
Must I be born with so little art
As to love a man who'll break my heart
When cockle shells turn silver bells
Then will my love come back to me
When roses bloom in winter's gloom
Then will my love return to me

The lyrics for "Waly, Waly, Gin Love Be Bonny" from Ramsay's Tea Table Miscellany (1724).

O Waly, waly (a lament ? "woe is me") up the bank,
And waly, waly doun the brae (hill),
And waly, waly, yon burn-side (riverside),
Where I and my love wont to gae.
I lean'd my back into an aik (oak),
I thocht it was a trusty tree;
But first it bow'd, and syne (soon) it brak (broke),
Sae my true love did lightly me.

O waly, waly, but love be bonnie (beautiful),
A little time while it is new,
But when 'tis auld (old), it waxeth cauld (cold),
And fades away like the morning dew.
O wherefore should I busk my heid (adorn my head)?
Or wherefore should I kame (comb) my hair?
For my true love has me forsook,
And says he'll never love me mair (more).

Now Arthur Seat shall be my bed,
The sheets shall ne'er be fyl'd by me,
Saint Anton's well shall be my drink,
Since my true love has forsaken me.
Martinmas wind, when wilt thou blaw (blow),
And shake the green leaves off the tree?
O gentle death, when wilt thou come?
For of my life I am weary.

'Tis not the frost, that freezes fell,
Nor blawing snaws (snow) inclemency,
'Tis not sic cauld (such cold) that makes me cry,
But my love's heart grown cauld to me.
When we cam in by Glasgow town,
We were a comely sight to see;
My love was clad in the black velvet,
And I my sell in cramasie (crimson).

But had I wist (known), before I kiss'd,
That love had been sae ill to win,
I'd lock my heart in a case of gold,
And pin'd it with a silver pin.
Oh, oh! if my young babe were born,
And set upon the nurse's knee,
And I my sell were dead and gane,
For a maid again I'll never be.[4]
(Lyrics courtesy of Wikipedia)

For more information, please feel free to contact me at: jmsgu3 "at" gmail.com
James M. Guthrie, ASCAP
jmsgu3 publications

$32.95 ≈ 30.33€

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