Partitions Numériques de Last Time Around pour Alto, Piano

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Last Time Around
Non classifié 59

Piano & claviers
Piano seul 36
Piano, Voix 7
Piano Facile 6
Piano, Voix et Guitare 6
Instruments en Do 4

Orgue 1

+ 1 instrumentations

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Guitares
Guitare notes et tablatures 4
Guitare 2
2 Guitares (duo) 1

Voix
Chorale SATB 10
Voix Soprano, Piano 4
Chorale SSAA 2
Voix Soprano 1
Chorale 3 parties 1

Chorale TTBB 1
Voix seule 1
Voix Tenor 1
Chorale 2 parties 1

+ 4 instrumentations

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Vents
Quatuor de Saxophones: 4 saxophones 17
2 Saxophones (duo) 10
Saxophone, Clarinette (duo) 7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 6
3 Saxophones (trio) 5

Quintette de Saxophone: 5 saxophones 5
Flûte, Clarinette (duo) 4
Quatuor de Clarinettes: 4 clarinettes 4
2 Clarinettes (duo) 4
Flûte traversière 4
Saxophone Alto 4
Saxophone Soprano et Piano 3
Hautbois, Piano (duo) 3
Saxophone Alto et Piano 3
2 Hautbois (duo) 2
Hautbois, Flûte 2
Quintette de Flûte : 5 flûtes 2
2 Flûtes traversières (duo) 2
Ensemble de Clarinettes 2
Hautbois, Basson (duo) 2
Saxophone Soprano 2
Flûte, Trompette (duo) 2
Flûte, Alto (duo) 2
Clarinette, Trompette (duo) 2
Saxophone Tenor 2
Quintette de Clarinettes: 5 clarinettes 2
Ensemble de Flûtes 2
Flûte, Hautbois, Clarinette, Basson 2
Saxophone (partie séparée) 2
Clarinette, Violon (duo) 1
Clarinette et Piano 1
Hautbois, Clarinette (duo) 1
Flûte, Violon 1
Quatuor de Flûtes à bec 1
Flûte, Saxophone (duo) 1
Flûte, Hautbois, Clarinette (trio) 1
Flûte traversière et Piano 1
Trio de Flûtes: 3 flûtes 1
Hautbois (partie séparée) 1
Ensemble de Hautbois 1
3 Clarinettes (trio) 1
Clarinette 1
Clarinette Basse 1
Clarinette, Violoncelle (duo) 1
Saxophone et Orgue 1
Ensemble de saxophones 1

+ 41 instrumentations

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Cuivres
Trompette, Saxophone (duo) 4
Trompette 3
2 Trompettes (duo) 2
Quatuor de Cuivres : 2 trompettes, trombone, tuba 2
Trompette, Piano 1

2 Trombones (duo) 1
Tuba et Piano 1
Trompette, Trombone (duo) 1
Trombone et Piano 1
Cor et Piano 1
Euphonium, Piano (duo) 1
Trombone 1

+ 7 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 11
Violon, Alto (duo) 4
Violon 4
Violoncelle 3
Violon et Piano 3

2 Altos (duo) 3
Violon, Violoncelle (duo) 3
2 Violons (duo) 2
Alto seul 1
4 Contrebasses 1
Violoncelle, Piano 1
Alto, Piano 1

2 Violoncelles (duo) 1

+ 8 instrumentations

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Percussions & orchestre
Orchestre 9
Orchestre d'harmonie 8
Orchestre à Cordes 3
Jazz combo 2
Ensemble de cuivres 1

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Last Time Around

Alto, Piano

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Saint-Saens: The Swan for Viola and Piano

Saint-Saens: The Swan for Viola and Piano #Alto, Piano #INTERMÉDIAIRE #Classique #Camille Saint-Saens #James M #Saint-Saens: The Swan for Viol #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...(+)

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-SaÃ«ns: 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-SaÃ«ns 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-SaÃ«ns. 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-SaÃ«ns BackgroundCharles-Camille Saint-SaÃ«ns 1835 â€“ 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-SaÃ«ns 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-SaÃ«ns 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-SaÃ«ns taught briefly in Paris, where his students included Gabriel FaurÃ©. Maurice Ravel later studied with FaurÃ©. In conclusion, both Ravel and FaurÃ© were powerfully influenced by Saint-SaÃ«ns, whom they respected as a musical mastermind.

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