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Sonata No. 2 C major
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Vous avez sélectionné:
Sonata No. 2 C major
SAXOPHONE
Partitions à imprimer
6 partitions trouvées
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J. S. Bach: Sonata no. 2 in A major, bwv 1015, - soprano saxophone and keyboard by Paul W
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Saxophone Soprano et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Paul Wehage
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J. S. Bach: Sonata no. 2 in A
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano,Soprano Saxophone - Level 4 - SKU: A0.533435 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Concert,Standards. Score and part...
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Piano,Soprano Saxophone - Level 4 - SKU: A0.533435 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Concert,Standards. Score and part. 32 pages. Musik Fabrik Music Publishing #2914067. Published by Musik Fabrik Music Publishing (A0.533435). In 1720 J. S. Bach was in the service of Prince Leopold of Anhalt-Cöthen, serving as his Kapellmeister. Since the court of Anhalt-Cöthen was Calvinist, Church music was limited to congregational psalms and hymns. Bach’s work during this period consisted of writing chamber music for the Prince, who was an accomplished violinist, gambist and harpsichordist. Other works from this period include the Cello Suites, the viola da gamba sonatas, the Flute sonatas and the partita for solo flute and the Orchestral Suites. The Sonata presented here is in the four movement “Church Sonata†style. The first five sonatas all share the same principal of Slow-Fast-Slow-Fast with a generally unified three-voice “Trio Sonata†texture. Passages which include double stops have been arranged as grace notes, which should be performed rapidly, but with a sensitivity to creating the necessary resonance which suggest implied chords.
$16.95
J. S. Bach; The Six "Trio Sonatas", BWV 525-530, - SAB saxophone trio
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3 Saxophones (trio)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Paul Wehage
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J. S. Bach; The Six "Trio
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Musik Fabrik Music Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Alto Saxophone,Baritone Saxophone,Soprano Saxophone - Level 4 - SKU: A0.534363 Composed by Johann Sebastian Bach. Arrang...
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Woodwind Ensemble,Woodwind Trio Alto Saxophone,Baritone Saxophone,Soprano Saxophone - Level 4 - SKU: A0.534363 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Sacred,Standards. 179 pages. Musik Fabrik Music Publishing #3387883. Published by Musik Fabrik Music Publishing (A0.534363). The Six Trio Sonatas, BWV 525-530 were composed about 1727 during Bach’s period in Leipzig. They were not composed for organ, but (according to Forkel, Bach’s first biographer whose information came from Bach’s son Carl Philip Emmanuel Bach) for the pedal harpsichord as means of improiving the pedal technique of his son Wilhelm Friedemann Bach. This instrument, which requires a great deal of precision in performance, contains a normal harpsichord with two manuals attached to a pedal board which activates another harpsichord which is lower to the ground. Many of the movements in these Italian sonatas were used in other settings, in Bach’s Cantatas and in other instrumental works.Bach always tuned his own keyboards and confided his tuning system to his student Johann Kimberger (1721-1788) who used this information to devise several tuning schemes to create a well-tempered system according to Bach’s ideas. The main principal that Bach gave Kimberger was that all thirds should be tuned slightly sharp (...alle grossen Terzen scharf). The saxophone is an ideal instrument to experiment with this sort of tuning, given the possibilities for adjustment in the embouchure. Nothing can replace a good set of ears in the process and use of electronic tuning devices should be avoided, unless they can be specifically programmed to reflect these sorts of non-standard tunings.Sonata no. 1 in Eb major, BWV 525 Sonata no. 2 in c minor , BWV 526 Sonata no. 3 in d minor, BWV 527 Sonata no. 4 in e minor, BWV 528 Sonata no. 5 in C major, BWV 529 Sonata no. 6 in G major, BWV 530
$58.95
Scriabin: Prelude Op. 11 No. 2 for Baritone Sax & Piano
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Saxophone Baryton, Piano
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INTERMÉDIAIRE
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2
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jmsgu3
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SheetMusicPlus
Baritone Saxophone,Piano - Level 3 - SKU: A0.549468 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic ...
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Baritone Saxophone,Piano - Level 3 - SKU: A0.549468 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499757. Published by jmsgu3 (A0.549468). 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
Scriabin: Prelude Op. 11 No. 2 for Alto Sax & Piano
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2
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jmsgu3
#
SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.549467 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Peri...
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Alto Saxophone,Piano - Level 3 - SKU: A0.549467 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499755. Published by jmsgu3 (A0.549467). 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
Scriabin: Prelude Op. 11 No. 2 for Tenor Sax & Piano
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Saxophone Tenor et Piano
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INTERMÉDIAIRE
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2
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jmsgu3
#
SheetMusicPlus
Piano,Tenor Saxophone - Level 3 - SKU: A0.549469 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Per...
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Piano,Tenor Saxophone - Level 3 - SKU: A0.549469 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499759. Published by jmsgu3 (A0.549469). 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
Scriabin: Prelude Op. 11 No. 2 for Soprano Sax & Piano
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Saxophone Soprano et Piano
#
INTERMÉDIAIRE
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2
#
jmsgu3
#
SheetMusicPlus
Piano,Soprano Saxophone - Level 3 - SKU: A0.549466 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic P...
(+)
Piano,Soprano Saxophone - Level 3 - SKU: A0.549466 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499743. Published by jmsgu3 (A0.549466). 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
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Sonata No. 2 C major
