Partitions Numériques de No More pour Trombone et Piano

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No More
Non classifié 129

Piano & claviers
Piano seul 78
Piano, Voix 22
Orgue 5
2 Pianos, 4 mains 4
Piano Trio: piano, violon, violoncelle 2

Piano, Voix et Guitare 1
Orgue, Trompette (duo) 1
Orgue, Piano (duo) 1

+ 3 instrumentations

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Guitares
Guitare 3
Basse electrique 2
Mandoline 1
Guitare notes et tablatures 1

Voix
Chorale SATB 3
Chorale TTBB 3
Chorale 3 parties 2
Chorale SSAA 1
Voix Soprano, Piano 1

Vents
Clarinette 29
Quatuor de Saxophones: 4 saxophones 13
2 Flûtes traversières (duo) 13
Hautbois (partie séparée) 11
Quatuor de Clarinettes: 4 clarinettes 8

Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 6
Flûte, Hautbois, Clarinette, Basson 4
Saxophone Alto et Piano 4
Saxophone Alto 4
Saxophone Tenor et Piano 3
Flûte traversière et Piano 3
Saxophone Soprano et Piano 3
3 Clarinettes (trio) 2
Quintette de Saxophone: 5 saxophones 2
Flûte traversière 2
Flûte, Violon, Piano 1
Saxophone (partie séparée) 1
Ensemble de Flûtes 1
Hautbois, Piano (duo) 1
Saxophone Baryton, Piano 1
Saxophone et Orgue 1
Ensemble de Clarinettes 1

+ 17 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 9
Cor 4
Quatuor de Cuivres : 2 trompettes, trombone, tuba 3
Ensemble de Trombones 3
Trompette 3

Trombone et Piano 2

Tuba 2
Cor et Piano 2
Quatuor de cuivres: 4 trombones 2
Trombone 1
Trompette (partie séparée) 1
Euphonium, Piano (duo) 1
Ensemble de Trompettes 1
Cor (partie séparée) 1

+ 9 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 30
Violon et Piano 7
2 Violons (duo) 6
Violon 6
Violoncelle 4

Alto seul 4
2 Violoncelles (duo) 2
Violoncelle, Piano 2
Alto, Piano 1
Quintette à cordes: 2 violons, alto, violoncelle, basse 1
Violon, Violoncelle (duo) 1
Violoncelle (partie séparée) 1
Contre Basse 1
Harpe 1
Trio à Cordes: violon, alto, violoncelle 1
Violoncelle , Guitare (duo) 1
Harpe, Violon (duo) 1
4 Violoncelles 1

+ 13 instrumentations

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Percussions & orchestre
Orchestre 39
Ensemble Jazz 8
Orchestre à Cordes 8
Orchestre de chambre 7
Orchestre d'harmonie 7

Ensemble de cuivres 4
Ensemble de Percussions 1
Marimba et Orgue 1
Jazz combo 1
Cloches 1

+ 5 instrumentations

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Trombone et Piano

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2 partitions trouvées

Concerto for Trombone and Piano accompaniment (piano reduction)

Concerto for Trombone and Piano accompaniment (piano reduction) #Trombone et Piano #AVANCÉ #Cherry Classics Music #John, W #Concerto for Trombone and Pian #Gordon Cherry #SheetMusicPlus

Piano,Trombone - Level 5 - SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. ...(+)

Piano,Trombone - Level 5 - SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983). This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.

$35.00 ≈ 32.24€

London Town Fantasy for Trombone and Piano

London Town Fantasy for Trombone and Piano #Trombone et Piano #AVANCÉ #Contemporain #Antonio J #London Town Fantasy for Trombo #Cherry Classics Music #SheetMusicPlus

Piano Accompaniment, Trombone - Advanced - Composed by Antonio J. Garcia. 21st Century, Jazz, Blues, Swing, Funk Jazz. Score, Solo Part. 14 pages. P...(+)

Piano Accompaniment, Trombone - Advanced - Composed by Antonio J. Garcia. 21st Century, Jazz, Blues, Swing, Funk Jazz. Score, Solo Part. 14 pages. Published by Cherry Classics Music
Virginia Commonwealth University Professor Antonio J. Garc�a has taken Haydn?s ?London? Symphony as a point of departure for his London Town Fantasy for trombone and orchestra (or piano accompaniment), commissioned by the Charlottesville Symphony Society for the Charlottesville & University Symphony Orchestra (Virginia). CUSO Music Director Kate Tamarkin sought a piece that would ?showcase the trombone in a jazz ballad style and somehow reference the Haydn ?London? Symphony? that would follow it on the program, knowing that the first half of the concert would also include the Brahms ?Variations on a Theme of Joseph Haydn.? She and trombone soloist Nathan Dishman suggested the title ?London Town Fantasy,? envisioning a potential intersection with elements of George Gershwin?s ?A Foggy Day (In London Town),? which seemed apt given a scheduled trip of Garc�a?s to London during the compositional process.

Listeners familiar with Haydn's ?London? Symphony No. 104" will notice references starting at the first measure. And the violin part at the outset of the Symphony?s fourth movement, Allegro Spiritoso, offered the core of what became the melody to this Fantasy. The melody of the ?bridge? section of the tune is crafted from the first seven measures of the opening theme of Haydn?s first movement (Allegro).

The use of ?A Foggy Day? had to be more subtle, as copyright law must be observed, limiting the use of its actual melody within this piece. But Gershwin?s harmony actually is the harmonic basis under the melody of the Fantasy; and his devotees will recognize that when the soloist improvises medium-swing jazz with the orchestra, the chord progression is indeed entirely that of ?A Foggy Day.? (An optional written-out solo is provided.)

Note that the string section is not asked to play swing eighth-notes at any time. Their jazz-phrased passages are couched in even-eighth, syncopated double-timed-sixteenth, and triplet-eighth cross-rhythmed lines well-rooted in the jazz tradition. Winds and brass, however, have swing-eighth passages to perform (and some even-sixteenth lines).

The superb piano reduction makes the six-minute London Town Fantasy ideal for performances on student and professional recitals, and no improvisational skills are needed by the pianist. Available MIDI demonstration recordings of the duo and orchestral settings, with MIDI soloist or ?minus one,? make rehearsals easy and even provide the aural basis for your own potential ?virtual? performance.

$27.50 ≈ 25.33€

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