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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Sa, Mer
Non classifié
120
Piano & claviers
Piano seul
100
Piano, Voix
12
Accompagnement Piano
9
1 Piano, 4 mains
8
Instruments en Do
3
Piano, Voix et Guitare
2
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano Facile
2
2 Accordéons
1
Accordéon
1
Orgue
1
Piano Trio: piano, violon, violoncelle
1
+ 7 instrumentations
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4
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1
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374
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34
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18
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9
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5
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4
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3
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2
Voix basse, Piano
1
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Vents
Clarinette (partie séparée)
8
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6
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6
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3
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3
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3
Flûte traversière et Piano
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
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2
Flûte, Hautbois, Clarinette, Basson
2
2 Saxophones, Piano
2
Flute (partie séparée)
2
Saxophone Soprano et Piano
2
2 Flûtes traversières (duo)
2
Quatuor de Clarinettes: 4 clarinettes
2
Hautbois
1
Cor anglais, Piano
1
Quatuor de Flûtes à bec
1
Saxophone Alto
1
Saxophone Baryton, Piano
1
Flûte traversière
1
2 Flûte à bec (duo)
1
Saxophone Tenor et Piano
1
Quatuor de Flûtes : 4 flûtes
1
Clarinette Basse
1
Hautbois (partie séparée)
1
+ 21 instrumentations
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6
Cor (partie séparée)
4
Tuba (partie séparée)
2
Trompette, Piano
2
Cor et Piano
1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Trombone basse et Piano
1
Quatuor de cuivres: 4 trompettes
1
Cor anglais, Piano
1
Quatuor de cuivres: 4 trombones
1
Trompette, Trombone, Piano
1
2 Trombones (duo)
1
2 Trompettes (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
Trompette (partie séparée)
1
Quatuor de Cuivres
1
Trombone et Piano
1
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Cordes
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8
Violon et Piano
4
Violon (partie séparée)
3
Violoncelle, Piano
3
Alto seul
3
Alto, Piano
3
Violon
3
Violoncelle
2
Violoncelle (partie séparée)
1
Contrebasse (partie séparée)
1
Violon, Violoncelle (duo)
1
2 Violons (duo)
1
4 Violoncelles
1
+ 8 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
6
Orchestre
3
Orchestre de chambre
3
Timbales (partie séparée)
2
Orchestre à Cordes
2
Batterie (partie séparée)
1
Percussion (partie séparée)
1
+ 2 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CLAIRON
CLARINETTE
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CORNET
DEEJAY
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Vous avez sélectionné:
Sa, Mer
Violoncelle, Piano
Partitions à imprimer
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Saint-Saëns: The Swan for Cello & Piano
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Violoncelle, Piano
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INTERMÉDIAIRE
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Classique
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Camille Saint-Saens
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James M
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Saint-Saëns: The Swan for
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jmsgu3
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.1314243 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Contest,Festival,Historic,Romantic P...
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Cello,Piano - Level 3 - SKU: A0.1314243 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Contest,Festival,Historic,Romantic Period,Wedding. Score and part. 11 pages. Jmsgu3 #902984. Published by jmsgu3 (A0.1314243). Saint-Saëns: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saëns permitted to be performed publicly during his lifetime. This is an excellent recital encore to demonstrate melodic playing and strategic phrasing. The Carnival of the AnimalsThe Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is among the fourteen most famous movements. In its entirety, it lasts about 25 minutes. Saint-Saëns BackgroundCharles-Camille Saint-Saëns 1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, include his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), and, it must be remembered, Carnival of the Animals (1886) to the list. ChildhoodIt is essential to realize that Saint-Saëns was undoubtedly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut, albeit at ten years old. Another critical point to remember is that he expressly studied at the Paris Conservatoire, then, despite reality, conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were, after all, markedly in demand - not only in Europe but, above all, in the Americas all in all as well. YouthA point often overlooked is that in his youth, Saint-Saëns was undoubtedly excited about the modern music of the day. He was, in essence, fond of the music of his contemporaries, particularly Schumann, Liszt, and, for the most part, Wagner. In contrast, however, his compositions seemed, in fact, primarily confined within the conservative classical tradition. Be that as it may, he was, at the same time, nevertheless, a scholar of musical history.CriticismOn the whole, his conservatism, in fact, ultimately brought him into frequent conflict in his later years with composers of the impressionist and, in particular, the dodecaphonic schools of musical thought. A point often overlooked is that he included neoclassical elements in his music, contrary to some critics. Furthermore, in so doing, he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly, as a non-progressive reactionary henceforth around the time of his passing. LegacySaint-Saëns taught briefly in Paris, where his students included Gabriel Fauré. Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
$32.95
10 Christmas Solos for Cello with Piano Accompaniment (Vol. 2)
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Violoncelle, Piano
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FACILE
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Noël
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Various
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10 Christmas Solos for Cello w
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Ben Dockery
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SheetMusicPlus
Composed by Various. Arranged by B. C. Dockery. Christian,Christmas,Concert,Sa cred. Score and part. 19 pages. Ben Dockery #6518163. Published by Ben D...
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Composed by Various. Arranged by B. C. Dockery. Christian,Christmas,Concert,Sa cred. Score and part. 19 pages. Ben Dockery #6518163. Published by Ben Dockery
Arranged for solo cello with optional piano accompaniment. Great for lessons, recitals, church services, caroling, and Christmas parties.
Includes:
Deck the Halls
God Rest Ye Merry Gentlemen
Good King Wenceslas
I Heard the Bells on Christmas Day
I Saw Three Ships
O Come, O Come, Emmanuel
O Little Town of Bethlehem
Still, Still, Still
The Twelve Days of Christmas
We Wish You a Merry Christmas
$8.99
Berceuse D major
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Gabriel Faure
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Berceuse D major
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Schott Music - Digital
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SheetMusicPlus
Composed by Gabriel Faure (1845-1924). This edition: Sheet music. Cello Library. Downloadable. Op. 16. Schott Music - Digital #Q7081. Published by Sch...
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Composed by Gabriel Faure (1845-1924). This edition: Sheet music. Cello Library. Downloadable. Op. 16. Schott Music - Digital #Q7081. Published by Schott Music - Digital
Key: D major.
Neuheit der Formen, ausgesuchte Modulationen, eigentümliche Klangfarben, den Einsatz völlig unerwarteter Rhythmen, lobte Camille Saint-Saëns am 22. Mai 1877 im Pariser Journal de Musique das Erstlingswerk eines jungen Kollegen, die erste Violinsonate von Gabriel Fauré (1845-1924), und fuhr fort: "Über allem liegt ein Reiz, der das ganze Werk umfängt und die Menge der durchschnittlichen Hörer dahin bringt, die überraschendsten Kühnheiten als etwas ganz Natürliches zu akzeptieren." Der Kammermusik und den kleinen Formen galt auch weiterhin das besondere Interesse dieses wichtigen französischen Komponisten am Ende des 19. und zu Beginn des 20. Jahrhunderts. Faurés besondere Vorliebe galt dabei den Streichinstrumenten und hier vor allem dem Violoncello, für das er nicht nur zwei herrliche Sonaten, sondern auch kleinere solistische Werke geschrieben hat. Die "Berceuse" op.16 schrieb er 1878/79 für Violine; das vorliegende Arrangement lässt nun auch Violoncellisten in diesem einschmeichelnden und klangvollen Wiegenlied schwelgen.
$11.99
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