Partitions Numériques de Sam M pour Cor anglais, Piano

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Sam M
Non classifié 509

Piano & claviers
Piano seul 280
Piano Facile 138
Piano, Voix et Guitare 85
Piano, Voix 80
Instruments en Do 16

Orgue 11
Piano grosses notes 10
1 Piano, 4 mains 5
Piano Trio: piano, violon, violoncelle 4
Accordéon 3
Piano Quatuor: piano, violon, alto, violoncelle 3
Orgue, Piano (duo) 3
2 Pianos, 4 mains 2
Piano (partie séparée) 2
Orgue, Trompette (duo) 1

+ 10 instrumentations

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Guitares
Guitare notes et tablatures 30
Ligne De Mélodie, (Paroles) et Accords 24
Ukulele 14
Paroles et Accords 14
Guitare 11

Mandoline 5
Basse electrique 5
2 Guitares (duo) 4
Piano, Guitare (duo) 4
Banjo 2
Guitare (partie séparée) 2

+ 6 instrumentations

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Voix
Chorale SATB 85
Chorale 3 parties 26
Chorale TTBB 15
Chorale 2 parties 11
Voix seule 7

Chorale SSAA 7
Chorale Unison 7
Voix haute 5
Chorale 3
Chorale SSAATTBB 2
Voix duo, Piano 1
Voix duo 1
Voix moyenne, Piano 1
Voix Moyenne 1
Voix Soprano 1
Voix basse 1
Voix basse, Piano 1

+ 12 instrumentations

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Vents
2 Saxophones (duo) 33
Saxophone (partie séparée) 31
2 Flûtes traversières (duo) 28
Flûte traversière 25
Flûte traversière et Piano 25

Saxophone Alto 23
Clarinette 22
Clarinette et Piano 17
2 Clarinettes (duo) 16
Hautbois, Piano (duo) 16
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 14
Quintette de Saxophone: 5 saxophones 13
Hautbois (partie séparée) 11
Saxophone Alto et Piano 10
Saxophone Tenor et Piano 9
Flûte, Hautbois, Clarinette, Basson 8
Saxophone Tenor 8
2 Hautbois (duo) 8
Quatuor de Saxophones: 4 saxophones 7
Saxophone Soprano et Piano 6
Saxophone, Clarinette (duo) 6
Ensemble de saxophones 6
Clarinette, Violon (duo) 6
Clarinette (partie séparée) 5
Ensemble de Clarinettes 5
Flûte à bec Soprano 5
Quatuor de Clarinettes: 4 clarinettes 5
Saxophone Baryton, Piano 5
Clarinette, Trompette (duo) 4
Ensemble de Flûtes 4
Flûte, Clarinette (duo) 4
Clarinette Basse, Piano 4
Flûte, Violon 4
Clarinette et Alto 3
Flûte à Bec 3
Hautbois, Basson (duo) 3
Quatuor de Flûtes : 4 flûtes 3
Flûte et Guitare 3
Flûte, Alto (duo) 3
Hautbois, Clarinette (duo) 2
2 Cors Anglais Et Pianoforte 2
Hautbois, Flûte 2
Hautbois, Violoncelle 2
Flûte, Trompette (duo) 2
Cor anglais, Piano 2

3 Saxophones (trio) 2
3 Clarinettes (trio) 2
Harmonica 2
Flûte, Saxophone (duo) 2
Instruments en Mib 2
Clarinette, Guitare (duo) 2
Clarinette, Violoncelle (duo) 2
Flûte, Violoncelle 1
Flûte, Hautbois (duo) 1
Trio de Flûtes: 3 flûtes 1
Flûte, Hautbois, Basson 1
Flute (partie séparée) 1
Flûte à bec Alto 1
Cornemuse 1
Clarinette Basse 1
Flûte, Clarinette et Basson 1
Clarinette, Harpe (duo) 1
Hautbois, Harpe 1
Quintette de Flûte : 5 flûtes 1
Hautbois, Clarinette, Basson (trio d'anches) 1
Hautbois et alto (duo) 1
Flûte, Hautbois, Piano (trio) 1

+ 62 instrumentations

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Cuivres
Trompette 24
Trompette, Piano 16
Trombone 16
Quatuor de Cuivres : 2 trompettes, trombone, tuba 16
Cor et Piano 14

Cor 13
Trompette (partie séparée) 12
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 11
2 Trombones (duo) 8
Trombone et Piano 7
Euphonium, Piano (duo) 6
Trombone (partie séparée) 6
2 Cors (duo) 6
2 Trompettes (duo) 5
2 Tubas (duo) 5
Trompette, Trombone (duo) 5
Tuba 4
Trio de Cuivres 4
2 Euphoniums (duo) 4
Trompette, Saxophone (duo) 4
Ensemble de Trombones 4
Ensemble de Trompettes 3
Tuba et Piano 3
Bass Clef Instruments 3
2 Cors Anglais Et Pianoforte 2
Euphonium 2
Cor anglais, Piano 2

Tuba et Orgue 2
Quatuor de cuivres: 4 cors 1
Cor (partie séparée) 1
4 Tubas 1
Quatuor de cuivres: 4 trombones 1
Trombone, Tuba (duo) 1
Ensemble de Cors 1
Instruments en Sib 1
Euphonium, Tuba (duo) 1

+ 31 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 188
Violon, Violoncelle (duo) 144
Violon 137
Trio à Cordes: violon, alto, violoncelle 126
2 Violoncelles (duo) 34

Quintette à cordes: 2 violons, alto, violoncelle, basse 24
Violon et Piano 22
Alto, Piano 20
Violoncelle (partie séparée) 17
Alto seul 17
Violoncelle, Piano 16
Harpe 15
2 Violons (duo) 11
2 Altos (duo) 10
Violon, Alto (duo) 10
Contrebasse, Piano (duo) 8
Violoncelle 7
Alto (partie séparée) 6
Contrebasse (partie séparée) 5
Violon (partie séparée) 4
Trio à Cordes: 3 violoncelles 2
Ensemble d'Altos 2
2 Violons, Piano 2
Ensemble de Violons 2
4 Violoncelles 2
2 Contrebasses (duo) 2
Violoncelle, Contrebasse (duo) 2
Violon, Guitare (duo) 1
Contre Basse 1
Trio à Cordes: 2 violons, violoncelle 1
Violoncelle , Guitare (duo) 1
2 Harpes (duo) 1
Violon, Basson (duo) 1
Alto, Violoncelle (duo) 1
Alto, Guitare (duo) 1
Harpe (partie séparée) 1
Harpe, Violon (duo) 1
Harpe, Flûte (duo) 1
Quintette à cordes: 2 violons, 2 altos, violoncelle 1
Trio à Cordes: 2 violons, alto 1
Alto et Harpe 1

+ 36 instrumentations

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Percussions & orchestre
Orchestre à Cordes 111
Orchestre 28
Cloches 28
Orchestre d'harmonie 27
Ensemble Jazz 13

Jazz combo 12
Ensemble de cuivres 8
Batterie 8
Orchestre de chambre 7
Fanfare 5
Ensemble de Percussions 4
Batterie (partie séparée) 3
Percussion (partie séparée) 1
Vibraphone 1
Timbales (partie séparée) 1
Marimba 1

+ 11 instrumentations

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Artistes :
• Cooke, Sam
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Sam M

Cor anglais, Piano

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2 partitions trouvées

Bach: Wachet auf for English Horn & Piano

Bach: Wachet auf for English Horn & Piano #Cor anglais, Piano #FACILE #Classique #Johann Sebastian Bach #James M # #Bach: Wachet auf for English H #jmsgu3 #SheetMusicPlus

English Horn,Piano - Level 2 - SKU: A0.549848 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Stan...(+)

English Horn,Piano - Level 2 - SKU: A0.549848 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3555009. Published by jmsgu3 (A0.549848). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &n.

$24.95 ≈ 23.29€

Scriabin: Prelude Op. 11 No. 2 for English Horn & Piano

Scriabin: Prelude Op. 11 No. 2 for English Horn & Piano #Cor anglais, Piano #INTERMÉDIAIRE #Alexander Scriabin #James M #Scriabin: Prelude Op. 11 No. 2 #jmsgu3 #SheetMusicPlus

English Horn,Piano - Level 3 - SKU: A0.549472 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period...(+)

English Horn,Piano - Level 3 - SKU: A0.549472 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499777. Published by jmsgu3 (A0.549472). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.

$19.95 ≈ 18.62€

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