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Vous avez sélectionné:
One Triplet only
Partitions à imprimer
70 partitions trouvées
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One Triplet only (easy version) arranged for alto saxophone and piano
One Triplet only (easy version) - alto saxophone and piano
#
Saxophone Alto et Piano
#
FACILE
#
Jazz
#
Martin Stolz
#
One Triplet only
#
Martin Stolz
#
SheetMusicPlus
Alto Saxophone,Piano - Level 2 - SKU: A0.806055 Composed by Martin Stolz. Jazz. Score and part. 5 pages. Martin Stolz #3907621. Published by Martin Stol...
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Alto Saxophone,Piano - Level 2 - SKU: A0.806055 Composed by Martin Stolz. Jazz. Score and part. 5 pages. Martin Stolz #3907621. Published by Martin Stolz (A0.806055). One Triplet only (easy version) is an easy Jazz exercise arranged for alto saxophone and piano · Grad 2.
$4.99 ≈
4.67€
One Triplet only (easy version) arranged for tenor saxophone and piano
One Triplet only (easy version) - tenor saxophone and piano
#
Saxophone Tenor et Piano
#
FACILE
#
Jazz
#
Marti Stolz
#
Martin Stolz
#
One Triplet only
#
Martin Stolz
#
SheetMusicPlus
Piano,Tenor Saxophone - Level 2 - SKU: A0.806051 Composed by Marti Stolz. Arranged by Martin Stolz. Jazz. Score and part. 5 pages. Martin Stolz #3906639...
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Piano,Tenor Saxophone - Level 2 - SKU: A0.806051 Composed by Marti Stolz. Arranged by Martin Stolz. Jazz. Score and part. 5 pages. Martin Stolz #3906639. Published by Martin Stolz (A0.806051). One Triplet only (easy version) is an easy Jazz exercise arranged for tenor saxophone and piano · Grad 2.
$4.99 ≈
4.67€
One Triplet only arranged for tenor saxophone and band
One Triplet only - tenor saxophone and band
#
Ensemble Jazz
#
INTERMÉDIAIRE
#
Jazz
#
Martin Stolz
#
One Triplet only - tenor saxop
#
Martin Stolz
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.806056 Composed by Martin Stolz. Jazz. Score and parts. 7 pages. Martin Stolz #3915153. Published by Mar...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.806056 Composed by Martin Stolz. Jazz. Score and parts. 7 pages. Martin Stolz #3915153. Published by Martin Stolz (A0.806056). One Triplet only is a Jazz exercise arranged for tenor saxophone and band in concert Bb · Grad 2-3
$4.99 ≈
4.67€
One Triplet only arranged for alto saxophone and band
One Triplet only - alto saxophone and band
#
Jazz combo
#
INTERMÉDIAIRE
#
Jazz
#
Martin Stolz
#
One Triplet only - alto saxoph
#
Martin Stolz
#
SheetMusicPlus
Jazz Combo - Level 3 - SKU: A0.806058 Composed by Martin Stolz. Jazz. Score and parts. 7 pages. Martin Stolz #3915261. Published by Martin Stolz (A0.806...
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Jazz Combo - Level 3 - SKU: A0.806058 Composed by Martin Stolz. Jazz. Score and parts. 7 pages. Martin Stolz #3915261. Published by Martin Stolz (A0.806058). One Triplet only is a Jazz exercise arranged for alto saxophone and band in concert Eb · Grad 2-3
$4.99 ≈
4.67€
One Triplet only (easy version) arranged for flute and piano
One Triplet only (easy version) - flute and piano
#
Flûte traversière et Piano
#
FACILE
#
Jazz
#
Martin Stolz
#
One Triplet only
#
Martin Stolz
#
SheetMusicPlus
Flute,Piano - Level 2 - SKU: A0.806053 Composed by Martin Stolz. Jazz. Score and part. 5 pages. Martin Stolz #3907355. Published by Martin Stolz (A0.806...
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Flute,Piano - Level 2 - SKU: A0.806053 Composed by Martin Stolz. Jazz. Score and part. 5 pages. Martin Stolz #3907355. Published by Martin Stolz (A0.806053). One Triplet only (easy version) is an easy Jazz exercise arranged for flute and piano · Grad 2.
$4.99 ≈
4.67€
One Triplet only arranged for clarinet and band
One Triplet only - clarinet and band
#
Ensemble Jazz
#
INTERMÉDIAIRE
#
Jazz
#
Martin Stolz
#
One Triplet only - clarinet an
#
Martin Stolz
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.806054 Composed by Martin Stolz. Jazz. Score and parts. 7 pages. Martin Stolz #3915157. Published by Mar...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.806054 Composed by Martin Stolz. Jazz. Score and parts. 7 pages. Martin Stolz #3915157. Published by Martin Stolz (A0.806054). One Triplet only is a easy Jazz exercise arranged for clarinet and band in concert Bb · Grad 2-3
$4.99 ≈
4.67€
One Triplet only (easy version) arranged for clarinet and piano
One Triplet only (easy version) - clarinet and piano
#
Clarinette
#
FACILE
#
Jazz
#
Martin Stolz
#
Martin Stolz
#
One Triplet only
#
Martin Stolz
#
SheetMusicPlus
Clarinet,Piano - Level 2 - SKU: A0.806052 Composed by Martin Stolz. Arranged by Martin Stolz. Jazz. Score and part. 5 pages. Martin Stolz #3906643. Publ...
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Clarinet,Piano - Level 2 - SKU: A0.806052 Composed by Martin Stolz. Arranged by Martin Stolz. Jazz. Score and part. 5 pages. Martin Stolz #3906643. Published by Martin Stolz (A0.806052). One Triplet only (easy version) is an easy Jazz exercise arranged for clarinet and piano · Grad 2.
$4.99 ≈
4.67€
One Triplet only arranged for flute and band
One Triplet only - flute and band
#
Jazz combo
#
INTERMÉDIAIRE
#
Jazz
#
Martin Stolz
#
One Triplet only - flute and b
#
Martin Stolz
#
SheetMusicPlus
Jazz Combo - Level 3 - SKU: A0.806057 Composed by Martin Stolz. Jazz. Score and parts. 7 pages. Martin Stolz #3915195. Published by Martin Stolz (A0.806...
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Jazz Combo - Level 3 - SKU: A0.806057 Composed by Martin Stolz. Jazz. Score and parts. 7 pages. Martin Stolz #3915195. Published by Martin Stolz (A0.806057). One Triplet only is a easy Jazz exercise arranged for flute and band in concert C · Grad 2-3.
$4.99 ≈
4.67€
I Love You Truly-trombone/piano
I Love You Truly-trombone/piano
#
Trombone et Piano
#
FACILE
#
Phil Beaman
#
I Love You Truly-trombone/pian
#
Phil Beaman
#
SheetMusicPlus
Piano,Trombone - Level 2 - SKU: A0.844626 Composed by Phil Beaman. 20th Century,Pop,Romantic Period,Wedding. Score and part. 9 pages. Phil Beaman #44130...
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Piano,Trombone - Level 2 - SKU: A0.844626 Composed by Phil Beaman. 20th Century,Pop,Romantic Period,Wedding. Score and part. 9 pages. Phil Beaman #4413053. Published by Phil Beaman (A0.844626). Vintage pop romance! This accompanied instrumental solo is a Theme and Variations. For the Theme I used an extract from the 1906 hit pop song I Love You Truly by Carrie Jacobs-Bond, a celebrated female composer at the turn of century. With each variation the melody and rhythm evolve further from the original Theme. The tempo also increases slightly as you progress to each new variation. The first variation adds chromatic embellishment, the second variation syncopates the rhythm, and the third variation uses triplet patterns. More life is added to your romance with each variation!Each person who has heard this piece hears something different, but in all of them it conjures up vintage courting; and most say it would fit a soundtrack to an early silent movie. So, at heart, this piece is still a turn of the century love ballad, but livened up and fused with subtle influences from other styles and periods. Perfect for weddings where you are trying to please everyone; a bit pop, a bit classical, and totally romantic!Works equally well in a classroom or lesson studying Theme and Variations. The easy-going melody only has a range of just over an octave. Its beauty and technique suits it for any recital as well.6 minutes with repeats, 3 minutes without; 6 page score; 3 page solo partRecording is of the Cello/Piano version and doesn't take the repeats.
$5.99 ≈
5.60€
I Love You Truly-Soprano saxophone/piano
I Love You Truly-Soprano saxophone/piano
#
Saxophone Soprano et Piano
#
FACILE
#
Phil Beaman
#
I Love You Truly-Soprano saxop
#
Phil Beaman
#
SheetMusicPlus
Piano,Soprano Saxophone - Level 2 - SKU: A0.844634 Composed by Phil Beaman. 20th Century,Pop,Romantic Period,Wedding. Score and part. 9 pages. Phil Beam...
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Piano,Soprano Saxophone - Level 2 - SKU: A0.844634 Composed by Phil Beaman. 20th Century,Pop,Romantic Period,Wedding. Score and part. 9 pages. Phil Beaman #4413831. Published by Phil Beaman (A0.844634). Vintage pop romance! This accompanied instrumental solo is a Theme and Variations. For the Theme I used an extract from the 1906 hit pop song I Love You Truly by Carrie Jacobs-Bond, a celebrated female composer at the turn of century. With each variation the melody and rhythm evolve further from the original Theme. The tempo also increases slightly as you progress to each new variation. The first variation adds chromatic embellishment, the second variation syncopates the rhythm, and the third variation uses triplet patterns. More life is added to your romance with each variation!Each person who has heard this piece hears something different, but in all of them it conjures up vintage courting; and most say it would fit a soundtrack to an early silent movie. So, at heart, this piece is still a turn of the century love ballad, but livened up and fused with subtle influences from other styles and periods. Perfect for weddings where you are trying to please everyone; a bit pop, a bit classical, and totally romantic!Works equally well in a classroom or lesson studying Theme and Variations. The easy-going melody only has a range of just over an octave. Its beauty and technique suits it for any recital as well.6 minutes with repeats, 3 minutes without; 6 page score; 3 page solo partRecording is of the Cello/Piano version and doesn't take the repeats.
$5.99 ≈
5.60€
I Love You Truly-Alto saxophone/piano
I Love You Truly-Alto saxophone/piano
#
Saxophone Alto et Piano
#
FACILE
#
Phil Beaman
#
I Love You Truly-Alto saxophon
#
Phil Beaman
#
SheetMusicPlus
Alto Saxophone,Piano - Level 2 - SKU: A0.844635 Composed by Phil Beaman. 20th Century,Pop,Romantic Period,Wedding. Score and part. 9 pages. Phil Beaman ...
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Alto Saxophone,Piano - Level 2 - SKU: A0.844635 Composed by Phil Beaman. 20th Century,Pop,Romantic Period,Wedding. Score and part. 9 pages. Phil Beaman #4414733. Published by Phil Beaman (A0.844635). Vintage pop romance! This accompanied instrumental solo is a Theme and Variations. For the Theme I used an extract from the 1906 hit pop song I Love You Truly by Carrie Jacobs-Bond, a celebrated female composer at the turn of century. With each variation the melody and rhythm evolve further from the original Theme. The tempo also increases slightly as you progress to each new variation. The first variation adds chromatic embellishment, the second variation syncopates the rhythm, and the third variation uses triplet patterns. More life is added to your romance with each variation!Each person who has heard this piece hears something different, but in all of them it conjures up vintage courting; and most say it would fit a soundtrack to an early silent movie. So, at heart, this piece is still a turn of the century love ballad, but livened up and fused with subtle influences from other styles and periods. Perfect for weddings where you are trying to please everyone; a bit pop, a bit classical, and totally romantic!Works equally well in a classroom or lesson studying Theme and Variations. The easy-going melody only has a range of just over an octave. Its beauty and technique suits it for any recital as well.6 minutes with repeats, 3 minutes without; 6 page score; 3 page solo partRecording is of the Cello/Piano version and doesn't take the repeats.
$5.99 ≈
5.60€
I Love You Truly-Tenor saxophone/piano
I Love You Truly-Tenor saxophone/piano
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Saxophone Tenor et Piano
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FACILE
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Phil Beaman
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I Love You Truly-Tenor saxopho
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Phil Beaman
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SheetMusicPlus
Piano,Tenor Saxophone - Level 2 - SKU: A0.844632 Composed by Phil Beaman. 20th Century,Pop,Romantic Period,Wedding. Score and part. 9 pages. Phil Beaman...
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Piano,Tenor Saxophone - Level 2 - SKU: A0.844632 Composed by Phil Beaman. 20th Century,Pop,Romantic Period,Wedding. Score and part. 9 pages. Phil Beaman #4413829. Published by Phil Beaman (A0.844632). Vintage pop romance! This accompanied instrumental solo is a Theme and Variations. For the Theme I used an extract from the 1906 hit pop song I Love You Truly by Carrie Jacobs-Bond, a celebrated female composer at the turn of century. With each variation the melody and rhythm evolve further from the original Theme. The tempo also increases slightly as you progress to each new variation. The first variation adds chromatic embellishment, the second variation syncopates the rhythm, and the third variation uses triplet patterns. More life is added to your romance with each variation!Each person who has heard this piece hears something different, but in all of them it conjures up vintage courting; and most say it would fit a soundtrack to an early silent movie. So, at heart, this piece is still a turn of the century love ballad, but livened up and fused with subtle influences from other styles and periods. Perfect for weddings where you are trying to please everyone; a bit pop, a bit classical, and totally romantic!Works equally well in a classroom or lesson studying Theme and Variations. The easy-going melody only has a range of just over an octave. Its beauty and technique suits it for any recital as well.6 minutes with repeats, 3 minutes without; 6 page score; 3 page solo partRecording is of the Cello/Piano version and doesn't take the repeats.
$5.99 ≈
5.60€
Concertino for Alto Saxophone and Piano
Concertino for Alto Saxophone and Piano
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Saxophone Alto et Piano
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AVANCÉ
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Contemporain
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Sy Brandon
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Concertino for Alto Saxophone
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Sy Brandon
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SheetMusicPlus
Alto Saxophone,Piano - Level 5 - SKU: A0.755072 Composed by Sy Brandon. 20th Century,Contemporary. Score and part. 50 pages. Sy Brandon #3366105. Publis...
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Alto Saxophone,Piano - Level 5 - SKU: A0.755072 Composed by Sy Brandon. 20th Century,Contemporary. Score and part. 50 pages. Sy Brandon #3366105. Published by Sy Brandon (A0.755072). Concertino was composed during 2009 at the request of Dr. Andy Wen and premiered by him at the Region 4 NASA Conference in April 2011. This piano reduction of the band parts was completed in 2011. The work is in three movements. The first movement is in an abbreviated sonata form in a spirited Vivace tempo. The first theme group consists more of motives rather than an actual theme and is characterized by interplay between the soloist and the band. The second theme group has a lyrical saxophone line over a staccato bass line. The development begins quietly with the treatment of a syncopated idea from the second theme using a trio of solo saxophone, timpani and euphonium. After further development, a variant of the first theme group returns. The recapitulation consists only of first theme group ideas before ending with a brief coda. The second and third movements are performed with out pause between them. While the first movement was created during 2009, the second and third movements are a reworking of an earlier work by the composer for alto saxophone and piano soloists with orchestra. A rubato Lento theme containing many triplets that is accompanied by lush harmony begins the second movement. It is followed by a more scale-wise melody that is treated contrapuntally. Both these ideas develop during the movement leading to a strong climax before returning to a quiet conclusion. The third movement is an Allegro, once again with a rhythmic opening idea that changes meter often, and a more lyrical second idea with scale-wise passages as counterpoint. The development of these ideas leads to a cadenza for the solo saxophonist, followed by a coda that brings the composition to a rousing conclusion.
$14.99 ≈
14.03€
Feux d'artifice [Arrangement for concert band] - Score Only
Feux d'artifice [Arrangement for concert band] - Score Only
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Orchestre d'harmonie
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AVANCÉ
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Classique
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Masakazu YAMAMOTO
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Masakazu YAMAMOTO
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Feux d'artifice [Arrangement f
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Motch Music
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1089980 By Masakazu YAMAMOTO. By Claude Debussy. Arranged by Masakazu YAMAMOTO. 20th Century,Classical,Contest,Festival...
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Concert Band - Level 5 - SKU: A0.1089980 By Masakazu YAMAMOTO. By Claude Debussy. Arranged by Masakazu YAMAMOTO. 20th Century,Classical,Contest,Festival,Film/TV,Pop. 22 pages. Motch Music #694194. Published by Motch Music (A0.1089980). Arrangement for concert band.This is the 12th song from Preludes 2nd book, which is Debussy's mature piano music. It is a depiction of the Paris Festival (Revolutionary Day) on July 14. Against the background of the first triplet, you can start to see fireworks shining in the distance. After getting closer and closer and launching it bigger, it's dizzying and colorful.It's changing to shine. Fanfare-style motifs that appear on the way are deployed in various ways, and they are magnificently reproduced at the climax at the end.And the French national anthem La Marseès concludes the song with a reverberation in the aftertaste.The whole scale and the tonic sound are skillfully combined, and the original song is very pianistic.I want to switch the tone and tempo firmly for each scene, and try to play crisp and colorful performances. Commissioned by conductor Keiko Kobayashi, and the Sony Concert Band. Premiered on July 2, 2022. Playing time: about 5'00(arr. Masakazu YAMAMOTO)[Instrumentation]Piccolo Flute 1, 2 Oboe 1, 2 Bassoon (option) Eb Clarinet Bb Clarinet 1, 2, 3 Bb Bass Clarinet Eb Alto Saxophone 1, 2 Bb Tenor Saxophone Eb Baritone Saxophone Bb Trumpet 1, 2, 3 F Horn 1, 2, 3, 4 Trombones 1, 2, 3 Euphonium Tuba String Bass Harp (option) Timpani Percussion (5 players) 1 (Glockenspiel, Whip) 2 (Vibraphone, Triangle, Xylophone, Wind-chime) 3 (Suspended Cymbal, Wind-chime, Triangle, Whip, Rachet, Crash Cymbal) 4 (Snare Drum, Suspended Cymbal, Bass Drum) 5 (Maracas, Bass Drum, Rachet, Tambourine, Tam-tam, Snare Drum) Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english Â
$40.00 ≈
37.43€
God Only Knows
God Only Knows
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3 Guitares (trio)
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INTERMÉDIAIRE
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Pop musique
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The Beach Boys
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Derek Hasted
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God Only Knows
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Derek Hasted
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1414174 By The Beach Boys. By Brian Wilson and Tony Asher. Arranged by Derek Hasted. Pop. 19 pages. Derek Hasted #995946. Pub...
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Guitar - Level 3 - SKU: A0.1414174 By The Beach Boys. By Brian Wilson and Tony Asher. Arranged by Derek Hasted. Pop. 19 pages. Derek Hasted #995946. Published by Derek Hasted (A0.1414174). GOD ONLY KNOWS (Beach Boys) - GUITAR QUARTET/large ensembleFor Classical or Acoustic GuitarDerek Hasted writes This is a lovely piece that will appeal to audiences of all ages - theyâ??ll be humming it on the way home!I've arranged this to suit as many guitar ensembles as possible - I've changed the key a little to make the shapes in this piece familiar ones and to make best use of the neck. My arrangement will suit a mixed ability ensemble from early intermediate to intermediate. Guitar 4 has the bottom string tuned down to D.I've arranged this in compound time instead of swing rhythm, and I've included triplet dotted crotchets (¼ notes) instead of three plain crotchets, so that the rhythm is easy to read.The piece finishes with a final chord instead of a fade to nothing, as it usually works better in concert. But if you have a conductor who can help with the fade, you could carry on playing the repeating section at the end until the sound has vanished.I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99 ≈
4.67€
It's A Small World - Score Only
It's A Small World - Score Only
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Orchestre d'harmonie
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DÉBUTANT
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Richard M
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Cal Rustad
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It's A Small World - Score Onl
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Rustad Publishing
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.872310 Composed by Richard M. Sherman and Robert B. Sherman. Arranged by Cal Rustad. Children,Film/TV,Pop. Score and pa...
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Concert Band - Level 1 - SKU: A0.872310 Composed by Richard M. Sherman and Robert B. Sherman. Arranged by Cal Rustad. Children,Film/TV,Pop. Score and parts. 16 pages. Rustad Publishing (Digital) #478754. Published by Rustad Publishing (Digital) (A0.872310). GRADE 2. This arrangement preserves the integrity of the original score with its use of the simple recurring melody and theme. A clarinet soloist featured in the “polka†variation of the main theme is playing the original accordion solo. In this section the Key changes to G Major, but to prevent confusion from younger band members, the local time signatures of all instruments aside from the soloist remain the same. Two trumpet soloists are featured in one of the mariachi variations of the ride playing the original harmonized triplet-filled variation of the theme. Articulations in the woodwinds must be exaggerated to maintain the interest of the audience.
$8.99 ≈
8.41€
20,000
20,000
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Saxophone Alto
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AVANCÉ
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Contemporain
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Sy Brandon
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20,000
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Sy Brandon
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SheetMusicPlus
Alto Saxophone Solo - Level 5 - SKU: A0.755094 Composed by Sy Brandon. 20th Century,Concert,Contemporary. Individual part. 10 pages. Sy Brandon #3381815...
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Alto Saxophone Solo - Level 5 - SKU: A0.755094 Composed by Sy Brandon. 20th Century,Concert,Contemporary. Individual part. 10 pages. Sy Brandon #3381815. Published by Sy Brandon (A0.755094). Based on Jules Verne’s 20,000 Leagues Under the Sea I. A Shifting Reef – This movement depicts the Nautilus as an unknown phenomenon that is a threat to navigation. Some mariners thought it was a sea monster and others thought it was a shifting reef. No one could conceive that it was a boat capable of traveling under water. The music is ever changing throughout this movement. It constantly shifts tonality, melodic ideas, and rhythmic placement of motives. Although some ideas repeat, they are transformed by combining them in different patterns with other previously stated ideas. II. A Walk at the Bottom of the Sea Through a Submarine Forest – Circular breathing is used at the beginning and the end of this movement to represent an undersea walk. The musical material appears in reverse at the end representing a return to the Nautilus. The lighter middle section represents walking over a more rocky terrain. The multiphonics symbolize the wonders of the submarine forest. III. The Giant Squids – The giant squids have surrounded the Nautilus and have caused the propeller to jam. In order to free themselves, Captain Nemo, his crew, Professor Aronnax, Conseil, and Ned Land do battle with the squids. This energetic scherzo reflects on the dangers of the battle. Several screams are heard as the squids entangle Ned Land and other crewmembers. The short multiphonics and syncopations represent the men chopping away and the arms of the squid. At the end, the Nautilus finally frees itself after the loss of one life. IV. Trapped Near the South Pole – After discovering the South Pole, the Nautilus is returning to open waters when it is caught between the polar icecap and iceberg that flips over. The tremolos reflect the doom of the Nautilus as only two days of air supply remain. The only means of escape is to chop through the ice below the Nautilus. The staccato notes represent the crew members hacking away at the ice. When that fails, Captain Nemo tries to melt the ice by expelling hot water from the Nautilus. This is represented by the saxophonist blowing air through the saxophone and wiggling the keys. A sense of doom returns that is followed by a final attempt of the Nautilus to crash through the remaining ice. A triumphant ending reflects the success of this attempt. V. The Maelstrom – As Professor Aronnax, Conseil, and Ned Land attempt their escape from the Nautilus, the ship enters the feared maelstrom, a vortex off the coast of Norway where no ship has escaped. The swirling waters are represented by the triplet passages and the escape by the duplet passages. An epilogue using the doom music of the previous movement suggests the end of the Nautilus but a brief return to a slower version of the Shifting Reef motive perhaps suggests otherwise
$4.99 ≈
4.67€
Bach: Eight Little Preludes & Fugues, BWV 553-560, for Saxophone Choir - Score Only
Bach: Eight Little Preludes & Fugues, BWV 553-560, for Saxophone Choir - Score Only
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Classique
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Johann Sebastian Bach
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James M
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Bach: Eight Little Preludes &a
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 3 - SKU: A0.1402994 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Contest,Festival,Historic...
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Woodwind Ensemble - Level 3 - SKU: A0.1402994 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Chamber,Contest,Festival,Historic,Standards. 64 pages. Jmsgu3 #986193. Published by jmsgu3 (A0.1402994). J. S. Bach's Eight Little Preludes & Fugues, BWV 553-560, are organ pieces composed between 1720 and 1723. They are written in the Baroque style and show Bach's mastery of the form. The pieces consist of a prelude followed by a fugue and are short and compact. The preludes are mainly in a two-part contrapuntal style, with occasional triplets and dotted rhythms adding variety and interest. The fugues are more complex and show Bach's ability to write complex counterpoint and intricate contrapuntal textures. These pieces are great for teaching and performing and provide an excellent introduction to Bach's music.
$49.95 ≈
46.73€
Concertino for Alto Saxophone and Band
Concertino for Alto Saxophone and Band
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Orchestre d'harmonie
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AVANCÉ
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Contemporain
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Sy Brandon
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Concertino for Alto Saxophone
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Sy Brandon
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.755114 Composed by Sy Brandon. 20th Century,Concert,Contemporary. Score and parts. 177 pages. Sy Brandon #3392241. Publ...
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Concert Band - Level 5 - SKU: A0.755114 Composed by Sy Brandon. 20th Century,Concert,Contemporary. Score and parts. 177 pages. Sy Brandon #3392241. Published by Sy Brandon (A0.755114). Concertino was composed during 2009 at the request of Dr. Andy Wen and premiered by him at the Region 4 NASA Conference in April 2011. The work is in three movements. The first movement is in an abbreviated sonata form in a spirited Vivace tempo. The first theme group consists more of motives rather than an actual theme and is characterized by interplay between the soloist and the band. The second theme group has a lyrical saxophone line over a staccato bass line. The development begins quietly with the treatment of a syncopated idea from the second theme using a trio of solo saxophone, timpani and euphonium. After further development, a variant of the first theme group returns. The recapitulation consists only of first theme group ideas before ending with a brief coda. The second and third movements are performed with out pause between them. While the first movement was created during 2009, the second and third movements are a reworking of an earlier work by the composer for alto saxophone and piano soloists with orchestra. A rubato Lento theme containing many triplets that is accompanied by lush harmony begins the second movement. It is followed by a more scale-wise melody that is treated contrapuntally. Both these ideas develop during the movement leading to a strong climax before returning to a quiet conclusion. The third movement is an Allegro, once again with a rhythmic opening idea that changes meter often, and a more lyrical second idea with scale-wise passages as counterpoint. The development of these ideas leads to a cadenza for the solo saxophonist, followed by a coda that brings the composition to a rousing conclusion. The score prints on legal size paper and the parts on letter.
$39.99 ≈
37.42€
Contours
Contours
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Saxophone (partie séparée)
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INTERMÉDIAIRE/AVANCÉ
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Robert A
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Contours
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Robert A. Howard
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SheetMusicPlus
Soprano Saxophone Solo - Level 4 - SKU: A0.998869 Composed by Robert A. Howard. Contemporary,Jazz,Standards. Individual part. 4 pages. Robert A. Howard ...
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Soprano Saxophone Solo - Level 4 - SKU: A0.998869 Composed by Robert A. Howard. Contemporary,Jazz,Standards. Individual part. 4 pages. Robert A. Howard #6348469. Published by Robert A. Howard (A0.998869). 'Contours' explores various shapes and directions of brief musical phrases, in the context of a virtuosic single-movement solo work. The piece takes the notion of improvisation, commonly associated with the saxophone, and aims to convey this through a fully notated work. Contours is cast in an overall ternary form. A fairly chromatic opening section develops a succession of short phrases, occasionally repeated by octave displacement, that are separated by notated silences. The middle section is more obviously influenced by jazz and is itself in an arch form. It is framed by a fanfare idea followed by a theme of triplet arpeggios. The apex of this central part is a jazz-like syncopated melody. This idea is repeated with its own canon, thus giving the illusion of two saxophones answering each other in contrasting octaves. The opening section then returns in full, exact in rhythm and almost exactly in inversion by pitch. The piece is accessible for the listener and is appropriate for advanced saxophonists, including students and professional players.Duration: 6 minutes 30 seconds. Registered with PRS (Performing Rights Society, UK).
$3.49 ≈
3.27€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.45€
"To the Moon" An den Mond from D. 193
"To the Moon" An den Mond from D. 193
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Trombone et Piano
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FACILE
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Franz Schubert
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Ian Fitze
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"To the Moon" An den
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Ian Fitze
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SheetMusicPlus
Piano,Tenor Trombone - Level 2 - SKU: A0.1416367 By Franz Schubert. By Franz Schubert. Arranged by Ian Fitze. 19th Century,Contest,Festival,Instructiona...
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Piano,Tenor Trombone - Level 2 - SKU: A0.1416367 By Franz Schubert. By Franz Schubert. Arranged by Ian Fitze. 19th Century,Contest,Festival,Instructional,Opera,Romantic Period. Score and part. 4 pages. Ian Fitze #998048. Published by Ian Fitze (A0.1416367). Visit my website at IAN FITZE MUSICAL ARRANGEMENTS for a complete catalogue of my works including FREE DOWNLOADS.This is a justly celebrated song, famous not only for its melody but also for its accompaniment and introduction: the undulating triplets which remind us so potently of Beethoven's 'Moonlight' Sonata. Adapted for Trombone solo - early intermediate level.
$1.99 ≈
1.86€
"To the Moon" An den Mond from D. 193
"To the Moon" An den Mond from D. 193
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Trombone et Piano
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FACILE
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Franz Schubert
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Ian Fitze
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"To the Moon" An den
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Ian Fitze
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SheetMusicPlus
Piano,Tenor Trombone - Level 2 - SKU: A0.1413518 By Franz Schubert. By Franz Schubert. Arranged by Ian Fitze. 19th Century,Contest,Festival,Instructiona...
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Piano,Tenor Trombone - Level 2 - SKU: A0.1413518 By Franz Schubert. By Franz Schubert. Arranged by Ian Fitze. 19th Century,Contest,Festival,Instructional,Opera,Romantic Period. Score and part. 4 pages. Ian Fitze #995343. Published by Ian Fitze (A0.1413518). Visit my website at IAN FITZE MUSICAL ARRANGEMENTS for a complete catalogue of my works including FREE DOWNLOADS.This is a justly celebrated song, famous not only for its melody but also for its accompaniment and introduction: the undulating triplets which remind us so potently of Beethoven's 'Moonlight' Sonata. Adapted for Trombone solo - early intermediate level.
$1.99 ≈
1.86€
FOR IF WE DIED WITH HIM (SATB) w/Rehearsal Piano – 2 Timothy 2:11-13
FOR IF WE DIED WITH HIM (SATB) w/Rehearsal Piano – 2 Timothy 2:11-13
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Chorale SATB
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FACILE
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Michael A
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FOR IF WE DIED WITH HIM
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.926665 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 13 pages. M.A. Morizio #3588435. Pub...
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Choral Choir (SATB) - Level 2 - SKU: A0.926665 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 13 pages. M.A. Morizio #3588435. Published by M.A. Morizio (A0.926665). In the first chapter of Paul’s second letter to Timothy, verses 1-10, we observe the intimate relationship that exists, between a spiritual father and his son… I remember you constantly in my prayers night and day. As I remember your tears, I long to see you, that I may be filled with joy. In Chapter two we also witness Paul’s commissioning Timothy to entrust to faithful men all that he was taught by the Apostle, that they then may be able to teach others in the same way also. While the elder Paul is now in prison and bound in chains, he is nonetheless empowered by the Holy Spirit to encourage and exhort Timothy to share in suffering as a good soldier of Christ, for the sake of the Gospel. Though Paul is bound in chains, he declares to Timothy the word of God is not bound! Endurance for Paul serves only one purpose, the salvation that is in Christ Jesus with eternal glory.In verse 11, Paul supports his statements by inserting another known 1st century Hymn to Christ, which brings us to our fifth anthem, For If We Died with Him. The text-or lyrics-of this hymn are even bracketed (or indented) in the NKJV Bible, suggesting the hymnic setting. The proposition of the text is quite clear; if we died with Christ, then we shall also live eternally with Christ. If we endure in the faith, then we shall also reign eternally with Christ. However, there is an insertion of 'Law' here, with a dire warning that the opposite is also true: If we deny Christ, resist, and refuse His beckoning and free invitation to salvation, then He will also deny us. Not everyone who says to me ‘Lord, Lord,’ will enter the kingdom of heaven… I will declare to them, ‘I never knew you; depart from me, you workers of lawlessness.’ (Matthew 7:31-23). Thus, the stage has been set for the fifth anthem. The piece is composed for SATB a cappella. The key is F Major. The opening phrase, This is a trustworthy saying, is in ¾ time, where a series of triplets are sung three times each (the Trinitarian opening motif). The meter then shifts to 2/4 with a lovely, distinctive unison melody for the opening phrase, For if we died with Him, we shall also live with Him. Soon after, when the lyrics shift to the words, If we deny Him, He will also deny us, the song drops into the relative minor key (F minor). The melody in this passage is haunting, and sends a clear warning signal to the listener to pay heed to what is being sung. When the text then transitions from if we are faithless, He remains faithful, however, the key shifts back to F Major in a new (dance-like) rhythm for the final verse, He remains faithful, for He cannot deny Himself. A coda is inserted in the final phrase where the triplet pattern is recapitulated (This is a trustworthy saying) and the sopranos ascend to a high F singing the lyrics, we shall live, for He remains faithful! to triumphantly end the piece.
$1.99 ≈
1.86€
All I Want For Christmas Is You
All I Want For Christmas Is You
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Justin Bieber Duet With Mariah
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HELEN MARPLE-HORVAT
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All I Want For Christmas Is Yo
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Helen Marple-Horvat
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.749239 By Justin Bieber Duet With Mariah Carey. By Mariah Carey and Walter Afanasie...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.749239 By Justin Bieber Duet With Mariah Carey. By Mariah Carey and Walter Afanasieff. Arranged by HELEN MARPLE-HORVAT. Contemporary. 39 pages. Helen Marple-Horvat #6196305. Published by Helen Marple-Horvat (A0.749239). https://www.youtube.com/watch?v=GSx1esb0D0wMariah Carey released this critically acclaimed song in 1994 and it has remained a popular snowy-season Christmas standard ever since. I originally arranged it for Voice with Quartet accompaniment in F, with my daughter, Alice Rose Wild, who sings on the live recording. You can hear our recording of the whole song on my channel if you type in Skinny Black Dogs, Capriccio Quartet, ‘All I want for Christmas’ into Youtube. More recently I have created this version for String Quartet in the key of G. At the moment I have only the Sibelius computer score, and hope to record it with Capriccio Quartet once the covid pandemic is at an end. Suspend your disbelief!Why choose my Arrangement?The arrangement is in a great key for strings and most of the double stopping includes an open string. In one or two places the double stopping is a bit more tricky, so for younger players it would be better perhaps to miss out one of the notes, or to play them consecutively.The Intro.For the first violinist I include two versions of the intro and recommend that the quartet listen to the original, or to Alice’s recording for speed and performance tips. It is quite difficult to get the computer to do it musically, so the video intro is only intended as a rough guide. One of the enclosed options is intended as a rehearsal version, and has the lyrics to help. I have bowed it to include lots of downbows, and recovery of bows, which will help the other members to follow. The tricky sextuplet and triplet ornament at bar 10 can be omitted altogether. Simply pause on the ‘C’ and then recover the downbow for the next bar.I also include two versions of the violin two and viola parts. One is on two pages as a smaller font, and one on three pages with a larger font.For cellists who are a bit daunted by the solo at letter A , simply play the fourth position semi breve Gs at bar 12 and at bars 13 and 14 too, and revert to the original score at bar 15. ie Six semibreve Gs. Perhaps a harmonic D at bar 15 would be easier than a shift at this point, and then join in unison with the rest of the band.The song moves between a straight crotchet pulse and lots of syncopated lines. This will be difficult to read on paper, but I always recommend listening to the song many times and then doing it by ear, using the notes on the page as a guide. Try not to play them too literally.PrintoutsPages 1 - 10 are for Look Inside Options only.Pages 11 - 28 includes all PartsPage 29 onwards is the optional Score for rehearsals. The vocal version is proving popular, but for a standard quartet Wedding and Events repertoire I hope that people will enjoy this arrangement. Send me recordings on facebook, even if they are phone rehearsals. I love to hear them, and to make contact with quartets around the world!
$20.00 ≈
18.71€
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1
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51
One Triplet only
