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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
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FLUTE DE PAN
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GUITARE LAP ST…
HARMONICA
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LIVRES
LUTH
MANDOLINE
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OCARINA
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TROMBONE
TROMPETTE
TUBA
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VIBRAPHONE
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VIOLONCELLE
XYLOPHONE
Liz Story
Non classifié
26
Piano & claviers
Piano seul
51
Piano, Voix
41
Piano, Voix et Guitare
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Instruments en Do
1
Guitares
Ukulele
2
Guitare
1
Guitare notes et tablatures
1
Voix
Chorale SATB
8
Chorale TTBB
5
Chorale SSAA
3
Voix Soprano
2
Chorale 3 parties
2
Chorale Unison
2
Voix Alto, Piano
1
Chorale 2 parties
1
+ 3 instrumentations
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Vents
Flûte traversière et Piano
5
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
4
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3
Clarinette et Piano
2
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2
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2
Saxophone Tenor et Piano
2
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1
Saxophone Soprano et Piano
1
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1
Saxophone et Harpe
1
Trio de Flûtes: 3 flûtes
1
Quintette de Flûte : 5 flûtes
1
Clarinette, Harpe (duo)
1
Clarinette Basse
1
Saxophone Baryton, Piano
1
Clarinette
1
Quatuor de Flûtes : 4 flûtes
1
+ 13 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
3
Cor et Piano
2
Ensemble de Trompettes
1
Trompette, Harpe
1
Tuba
1
Trombone et Piano
1
Cor et Harpe
1
Ensemble de Trombones
1
2 Trompettes (duo)
1
+ 4 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
6
Alto, Piano
4
Ensemble d'Altos
1
Ensemble de Violons
1
Trio à Cordes: 3 violoncelles
1
Violon et Piano
1
Violoncelle, Piano
1
Alto (partie séparée)
1
Harpe
1
Violon
1
Alto et Harpe
1
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3
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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
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Liz Story
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Clarinette et Piano
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Pachelbel: Canon for Clarinet & Piano
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Clarinette et Piano
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INTERMÉDIAIRE
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Classique
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Johann Pachelbel
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James M
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Pachelbel: Canon for Clarinet
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jmsgu3
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SheetMusicPlus
B-Flat Clarinet,Piano - Level 3 - SKU: A0.548466 Composed by Johann Pachelbel. Arranged by James M. Guthrie, ASCAP. Wedding. Score and part. 8 pages. Jm...
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B-Flat Clarinet,Piano - Level 3 - SKU: A0.548466 Composed by Johann Pachelbel. Arranged by James M. Guthrie, ASCAP. Wedding. Score and part. 8 pages. Jmsgu3 #3386285. Published by jmsgu3 (A0.548466). The famous Pachelbel Canon arranged for clarinet in Bb and piano. Great choice for weddings & receptions! Pachelbel's Canon Pachelbel's Canon is, in fact, the traditional title for a composition by the German composer Johann Pachelbel. Other names for the work include namely: Canon and Gigue for 3 violins and basso continuo, Canon and Gigue in D, and of course Canon in D. We do not know when or why in particular it was written. The oldest copy is surprisingly from the 19th century. It is important to realize that it was a common routine for organists to practice improvisation on the chord progression underlying the canon. Pachelbel originally scored the Canon notably for three violins and continuo. He also in fact paired the Canon with a gigue. The movements are homotonal, to clarify, both are in the key of D major. History In due time, Pachelbel's Canon went out of style and remained in virtual oblivion for centuries. The Jean-François Paillard chamber orchestra, however, recorded an arrangement of it in 1968. As a result, it gained approval.  Many ensembles began likewise to record the piece in the 1970s and by the 1980s became ubiquitous as background music. From the 1970s to the early 2000s, pop songs correspondingly used elements of the piece. The chord progression, in particular, was used this way. Also, since the 1980s, it has been not only wildly popular for weddings, but also for funeral ceremonies in the USA and Europe. Pachelbel Background Johann Pachelbel (1653 –1706) was a German composer, as well as an organist. He was furthermore instrumental in bringing the south German organ school to its apex. He wrote a large body of music, both sacred and, equally important, secular. In particular, he uniquely helped develop the chorale prelude and fugue. For this, he has, in fact, earned a rightful place in the company of the most significant composers of the mid-Baroque period. Works Pachelbel's music was certainly popular. With this in mind, he also consequently had many pupils. His music expressly developed into a model for the south German composers. Nowadays, Pachelbel is most famous particularly for the Canon in D, as well as the F minor Chaconne, the Toccata in E minor, and of course the Hexachordum Apollinis, a set of variations for the keyboard. Influences Johann Jakob Froberger and Johann Caspar Kerll were south German composers who significantly influenced Pachelbel. Furthermore, he was especially influenced by Italians such as Frescobaldi and Poglietti. He frequently preferred an articulate, simple contrapuntal style that highlighted clarity. His music is markedly less extravagant and harmonically adventurous than that of Dieterich Buxtehude. However, as a point often overlooked, like Buxtehude, Pachelbel experimented with different instrumental combinations in his chamber music. Legacy All in all, Pachelbel was most famous as a composer for the keyboard. He composed over two hundred pieces specifically for the instrument. Pachelbel was also surprisingly a prolific composer of vocal music. All in all, about a hundred vocal works survive, including 40 or so large-scale works. .
$32.95
Saint-Saëns: The Swan for Clarinet & Piano
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Clarinette et 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
B-Flat Clarinet,Piano - Level 3 - SKU: A0.1314273 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,H...
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B-Flat Clarinet,Piano - Level 3 - SKU: A0.1314273 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Historic,Romantic Period. Score and part. 11 pages. Jmsgu3 #903015. Published by jmsgu3 (A0.1314273). 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
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