Partitions Numériques de The Family Choir pour Saxophone Alto et Piano

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The Family Choir
Non classifié 22

Piano & claviers
Orgue 1
Piano Quatuor: piano, violon, alto, violoncelle 1
Piano Trio: piano, violon, violoncelle 1

Guitares

Voix
Chorale SATB 41
Chorale SSAA 3
Chorale 2 parties 3
Chorale TTBB 2
Chorale Unison 1

Chorale 3 parties 1

+ 1 instrumentations

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Vents
Ensemble de Flûtes 4
2 Clarinettes (duo) 2
Ensemble de Clarinettes 2
2 Flûtes traversières (duo) 2
Saxophone Baryton, Piano 1

Clarinette et Piano 1
Hautbois, Piano (duo) 1
Saxophone Alto et Piano 1

Saxophone Tenor et Piano 1
Flûte traversière et Piano 1

+ 5 instrumentations

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Cuivres
2 Trompettes (duo) 1
Ensemble de Cors 1
Trompette, Trombone (duo) 1

Cordes
2 Violons (duo) 2
Alto, Piano 1
Violon et Piano 1
2 Altos (duo) 1

Percussions & orchestre
Orchestre d'harmonie 2
Orchestre 1
Ensemble de cuivres 1
Orchestre de chambre 1

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The Family Choir

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Saxophone Alto et Piano

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1 partition trouvée

Fauré: Élégie Op. 24 for Alto Sax & Piano

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

Alto Saxophone,Piano - Level 4 - SKU: A0.549727 Composed by Gabriel Faure. Arranged by James M. Guthrie, ASCAP. Contemporary,Multicultural,Romantic Peri...(+)

Alto Saxophone,Piano - Level 4 - SKU: A0.549727 Composed by Gabriel Faure. Arranged by James M. Guthrie, ASCAP. Contemporary,Multicultural,Romantic Period,Standards,World. Score and part. 22 pages. Jmsgu3 #3531403. Published by jmsgu3 (A0.549727). 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.

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