Partitions Numériques de When I Was Your Man pour Quintette de Clarinettes: 5 clarinettes

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When I Was Your Man
Non classifié 170

Piano & claviers
Piano seul 98
Piano, Voix et Guitare 52
Piano Facile 30
Piano, Voix 21
Instruments en Do 20

Piano grosses notes 6
1 Piano, 4 mains 2
Orgue 2
Accordéon 2
Accompagnement Piano 2
Accordéon, Voix 1
Piano (partie séparée) 1

+ 7 instrumentations

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Guitares
Guitare notes et tablatures 25
Guitare 25
Ukulele 5
Ligne De Mélodie, (Paroles) et Accords 4
Paroles et Accords 2

Basse electrique 1
Mandoline 1
Banjo 1
Guitare (partie séparée) 1

+ 4 instrumentations

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Voix
Chorale SATB 25
Chorale 3 parties 10
Chorale TTBB 8
Chorale 2 parties 4
Chorale SSAA 2

Voix duo, Piano 2
Chorale Unison 1
Voix seule 1
Voix Tenor 1
Chorale SSATTB 1

+ 5 instrumentations

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Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 49
Quintette de Saxophone: 5 saxophones 46
Saxophone (partie séparée) 19
Clarinette 11
Hautbois (partie séparée) 9

Saxophone Alto 7
Flûte traversière et Piano 7
Flûte traversière 6
Ensemble de Clarinettes 5
Quatuor de Saxophones: 4 saxophones 4
Hautbois, Piano (duo) 4
Quintette de Flûte : 5 flûtes 4
Saxophone Soprano et Piano 3
Clarinette (partie séparée) 3
Saxophone Alto et Piano 3
Saxophone Tenor et Piano 3
3 Clarinettes (trio) 3
Quatuor de Flûtes : 4 flûtes 3
Ensemble de Flûtes 2
Flûte, Hautbois, Clarinette, Basson 2
Saxophone Baryton, Piano 2
Quintette de Clarinettes: 5 clarinettes 2

Saxophone Tenor 2
2 Flûtes traversières (duo) 2
Cor anglais, Piano 2
Clarinette et Piano 2
Trio de Flûtes: 3 flûtes 2
Instruments en Mib 1
Saxophone Soprano 1
Flûte, Violon 1
Flute (partie séparée) 1
Flûte, Hautbois, Clarinette (trio) 1
3 Saxophones (trio) 1
Clarinette Basse, Piano 1
Flûte, Hautbois, Basson 1
Ensemble de saxophones 1
Flûte à bec Soprano 1

+ 32 instrumentations

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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba 22
Trompette 12
Cor 6
Trombone 5
Tuba 5

Ensemble de Trombones 4
Trombone (partie séparée) 3
Trombone et Piano 3
Euphonium 3
Trompette (partie séparée) 2
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 2
Cor (partie séparée) 2
Cor anglais, Piano 2
Trompette, Piano 2
Ensemble de Trompettes 2
Euphonium, Piano (duo) 1
Quatuor de Cuivres: 2 trompettes, Cor, trombone 1
Trompette, Trombone (duo) 1
2 Tubas (duo) 1
Bass Clef Instruments 1
Instruments en Sib 1
Cor et Piano 1
Quatuor de Cuivres 1
3 Cors (trio) 1
Tuba (partie séparée) 1
3 Trombones (trio) 1
Quatuor de cuivres: 4 trombones 1

+ 22 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 12
Violon 11
Violon et Piano 10
Harpe 7
Violoncelle (partie séparée) 6

Quintette à cordes: 2 violons, alto, violoncelle, basse 5
Alto, Piano 5
Ensemble de Violons 4
Alto seul 4
Harpe, Voix 4
Ensemble d'Altos 4
Violoncelle, Piano 3
4 Violoncelles 2
Alto (partie séparée) 2
Violon (partie séparée) 2
Contrebasse (partie séparée) 2
Quatuor à cordes : 4 altos 1
Violoncelle 1
Alto et Harpe 1
2 Violons (duo) 1
Quatuor à cordes: 4 violons 1
Contre Basse 1
Trio à Cordes: 2 violons, violoncelle 1

+ 18 instrumentations

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Percussions & orchestre
Orchestre d'harmonie 35
Orchestre 18
Orchestre de chambre 3
Orchestre à Cordes 3
Percussion (partie séparée) 2

Ensemble Jazz 2
Ensemble de cuivres 1
Batterie (partie séparée) 1
Ensemble de Percussions 1

+ 4 instrumentations

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When I Was Your Man

Quintette de Clarinettes: 5 clarinettes

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2 partitions trouvées

Watermelon Man for Clarinet Quintet & Opt. Drumset

Watermelon Man for Clarinet Quintet & Opt. Drumset #Quintette de Clarinettes: 5 clarinettes #INTERMÉDIAIRE #Jazz #Herbie Hancock #Keith Terrett #Watermelon Man for Clarinet Qu #Music for all Occasions #SheetMusicPlus

By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published by Music for all Occasions ...(+)

By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published by Music for all Occasions
Arranged for Clarinet Quintet & optional drumset, "Watermelon Man" is a jazz standard written by Herbie Hancock, first released on his debut album, Takin' Off (1962), in a grooving hard bop version that featured improvisations by Freddie Hubbard and Dexter Gordon.

A single of the tune reached the Top 100 of the pop charts. Cuban percussionist Mongo Santamar�a released the tune as a latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamar�a's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).

Hancock's first version was released as a grooving hard bop record, and featured improvisations by Freddie Hubbard and Dexter Gordon. A single reached the Top 100 of the pop chart. Cuban percussionist Mongo Santamar�a released the tune as a Latin pop single and it became a surprise hit, reaching No. 10 on the pop chart.[2] Santamar�a's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).

Hancock wrote the piece to help sell his debut album as a leader, Takin' Off (1962), on Blue Note Records; it was the first piece of music he had ever composed with a commercial goal in mind. The popularity of the piece, due primarily to Mongo Santamar�a, paid Hancock's bills for five or six years. Hancock did not feel the composition was a sellout however, describing that structurally, it was one of his strongest pieces due to its almost mathematical balance.

The form is a sixteen bar blues. Recalling the piece, Hancock said, "I remember the cry of the watermelon man making the rounds through the back streets and alleys of Chicago. The wheels of his wagon beat out the rhythm on the cobblestones." The tune, based on a bluesy piano riff, drew on elements of R&B, soul jazz and bebop, all combined into a pop hook. Hancock joined bassist Butch Warren and drummer Billy Higgins in the rhythm section, with Freddie Hubbard on trumpet and Dexter Gordon on tenor saxophone. Hancock's chordal work draws from the gospel tradition, while he builds his solo on repeated riffs and trilled figures.

Hancock filled in for pianist Chick Corea in Mongo Santamar�a's band one weekend at a nightclub in The Bronx when Corea gave notice that he was leaving. Hancock played the tune for Santamar�a at friend Donald Byrd's urging. Santamar�a started accompanying him on his congas, then his band joined in, and the small audience slowly got up from their tables and started dancing, laughing and having a great time. Santamar�a later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamar�a recorded a three-minute version, suitable for radio, where he joined timbalero Francisco "Kako" Baster in a cha-cha beat, while drummer Ray Lucas performed a backbeat. Santamar�a included the track on his album Watermelon Man (1962). Santamar�a's recording is sometimes considered the beginning of Latin boogaloo, a fusion of Afro-Cuban rhythms with those of R&B

Hancock re-recorded the tune for Head Hunters (1973), combining synthesizers with a Sly Stone and James Brown funk influence, adding an eight-bar section. Hancock described his composition "Chameleon", also from Head Hunters, to Down Beat magazine in 1979: "In the popular forms of funk, which I've been trying to get into, the attention is on the rhythmic interplay between different instruments. The part the Clavinet plays has to fit with the part the drums play and the line the bass plays and the line that the guitar plays. It's almost like African drummers where seven drummers play different parts"; "Watermelon Man" shares a similar construction. A live version was released on the double LP Flood (1975), recorded in Japan.

On the intro and outro of the tune, percussionist Bill Summers blows into beer bottles imitating hindewhu, a style of singing/whistle-playing found in Pygmy music of Central Africa. Hancock and Summers were struck by the sound, which they heard on the ethnomusicology LP, The Music of the Ba-Benz�l� Pygmies (1966), by Simha Arom and Genevi�ve Taurelle.

This version was often featured on The Weather Channel's Local on the 8s segments.

The tune is a jazz standard and has been recorded over two hundred times. Hancock's recording has been sampled in "1-900-LL-Cool-J" from Walking with a Panther (1989) by LL Cool J, "Open Your Eyes" from Organized Konfusion (1991) by Organized Konfusion, "Smoke Some Kill" from Smoke Some Kill (1988) by Schoolly D, and "Pocket Full of Furl" from Uptown 4 Life (1996) by U.N.L.V. In 2003, pianist David Benoit covered the song from his album Right Here, Right Now.

A live and funky performance at the 1999 Montreux Jazz Festival Casino Lights '99 featured Fourplay, George Duke, Boney James and Kirk Whalum trading choruses, and Rick Braun.

$14.99 ≈ 13.81€

A Night In Tunisia

A Night In Tunisia #Quintette de Clarinettes: 5 clarinettes #INTERMÉDIAIRE #Jazz #Dizzy Gillespie #Keith Terrett #A Night In Tunisia #Keith Terrett #SheetMusicPlus

Woodwind Ensemble,Woodwind Quintet Clarinet - Level 3 - SKU: A0.746990 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Ter...(+)

Woodwind Ensemble,Woodwind Quintet Clarinet - Level 3 - SKU: A0.746990 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. 13 pages. Keith Terrett #5827845. Published by Keith Terrett (A0.746990). A great sounding arrangement of A Night in Tunisia, your Clarinet Quintet will love it!A jazz solo is written out for you, if you wish you can improvise on the given chord symbols!A Night in Tunisia is a musical composition written by Dizzy Gillespie around 1941â€“42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard.It is also known as Interlude. Gillespie called the tune Interlude and said some genius decided to call it 'Night in Tunisia'. He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. A Night in Tunisia was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame.On the album A Night at Birdland Vol. 1, Art Blakey introduced his 1954 cover version with this statement: At this time we'd like to play a tune [that] was written by the famous Dizzy Gillespie. I feel rather close to this tune because I was right there when he composed it in Texas on the bottom of a garbage can. The audience laughs, but Blakey responds, Seriously. The liner notes say, The Texas department of sanitation can take a low bow.The complex ostinato bass line in the A section is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard Alone Together, causing the V chord to lead back into the Sub V of the A section.Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections - in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.

$14.99 ≈ 13.81€

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