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ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CLAIRON
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CLAVECIN
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COR
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We Had This Time
Non classifié
161
Piano & claviers
Piano seul
65
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52
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43
Orgue
9
Instruments en Do
6
Piano Facile
3
Piano Quatuor: piano, violon, alto, violoncelle
3
1 Piano, 4 mains
3
Piano Trio: piano, violon, violoncelle
1
Clavecin
1
+ 5 instrumentations
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Guitares
Guitare
8
Guitare notes et tablatures
4
Ligne De Mélodie, (Paroles) et Accords
3
4 Guitares (Quatuor)
1
Banjo
1
Voix
Chorale SATB
44
Chorale 3 parties
7
Chorale TTBB
6
Chorale 2 parties
4
Voix Soprano, Piano
2
Voix duo, Piano
1
Voix haute
1
Voix Tenor
1
Voix Alto, Piano
1
Voix Baryton, Piano
1
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Vents
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49
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45
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7
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6
Quatuor de Clarinettes: 4 clarinettes
6
Quatuor de Saxophones: 4 saxophones
5
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4
Clarinette et Piano
3
Saxophone Alto et Piano
3
Hautbois, Piano (duo)
3
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3
Saxophone Tenor et Piano
3
Ensemble de Flûtes
3
Quatuor de Flûtes : 4 flûtes
2
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2
Ensemble De Flûte à bec
1
Ensemble de saxophones
1
2 Flûtes traversières (duo)
1
2 Clarinettes (duo)
1
Saxophone Alto
1
2 Saxophones (duo)
1
Clarinette
1
3 Clarinettes (trio)
1
Cor anglais et Harpe (duo)
1
Saxophone Soprano et Piano
1
Flûte traversière
1
Hautbois (partie séparée)
1
Cor Anglais
1
Saxophone (partie séparée)
1
Saxophone Baryton, Piano
1
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
24
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8
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4
Ensemble de Trompettes
3
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3
Trombone
3
Tuba
2
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2
Trombone et Piano
2
2 Trombones (duo)
2
Trompette
2
2 Tubas (duo)
2
Cor et Piano
2
Euphonium, Piano (duo)
1
Trompette, Euphonium (duo)
1
Trompette, Piano
1
4 Tubas
1
Cor
1
Quatuor de cuivres: 4 trombones
1
Cor anglais et Harpe (duo)
1
Cor Anglais
1
+ 16 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
20
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
Ensemble d'Altos
4
Ensemble de Violons
4
Alto, Piano
4
Violon et Piano
4
Trio à Cordes: violon, alto, violoncelle
3
Violoncelle, Piano
3
Violon, Alto (duo)
2
Harpe, Flûte (duo)
2
Violon
2
Violoncelle
2
Harpe
2
Trio à Cordes: 3 violoncelles
2
Alto seul
1
Alto (partie séparée)
1
4 Contrebasses
1
Trio à Cordes: 2 violons, violoncelle
1
2 Violons (duo)
1
Harpe, Violon (duo)
1
Violon, Violoncelle (duo)
1
Piano Trio: Violon, Alto, Piano
1
4 Violoncelles
1
+ 18 instrumentations
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Orchestre d'harmonie
51
Orchestre
9
Orchestre à Cordes
9
Ensemble Jazz
9
Ensemble de cuivres
9
Orchestre de chambre
7
Ensemble de Percussions
2
Jazz combo
2
Piano et Orchestre
1
2 Marimbas
1
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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…
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GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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Vous avez sélectionné:
We Had This Time
Clarinette et Piano
Partitions à imprimer
3 partitions trouvées
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We Shall Overcome
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Clarinette et Piano
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FACILE
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Zilphia Horton
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Spike Maiden Müller
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We Shall Overcome
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Spike Maiden Mueller
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SheetMusicPlus
Clarinet,Piano - Level 2 - SKU: A0.850760 Composed by Zilphia Horton. Arranged by Spike Maiden Müller. Folk,Instructional,Patriotic,Standards. Score ...
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Clarinet,Piano - Level 2 - SKU: A0.850760 Composed by Zilphia Horton. Arranged by Spike Maiden Müller. Folk,Instructional,Patriotic,Standards. Score and part. 6 pages. Spike Maiden Mueller #6328089. Published by Spike Maiden Mueller (A0.850760). A gospel song which became a protest song and the signal anthem of the civil rights movement, We Shall Overcome is commonly believed to be lyrically descended from I'll Overcome Some Day, a hymn by Charles Albert Tindley. The modern version was first contributed to the People's Songs Bulletin by Zilphia Horton, who said she had learned it from tobacco workers organizer Lucille Simmons in 1945. It became associated with the civil rights movement in 1959 when Guy Carawan and Pete Seeger began using their version at the Highlander Folk School in Tennessee. Within a year, it had spread across the south, becoming the unofficial anthem of the civil rights movement.This simple solemn version for two clarinets and piano is offered for contemporary use. The first clarinet part is well within reach of second or third year students while the second clarinet stays below the break at all times, making it accessible by good first year players.This arrangement is copyright 2021 by Spike Maiden Müller. All rights reserved. You may contact Spike at his web site at www.derspike.comAdditional search terms: Maiden-Mueller, Maiden Miller, Maiden-Müller, Maiden Müller, Maiden Muller
$11.95
O Come All Ye Faithful for Clarinet & Piano
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Clarinette et Piano
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DÉBUTANT
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Wade
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James M
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O Come All Ye Faithful for Cla
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jmsgu3
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SheetMusicPlus
B-Flat Clarinet,Piano - Level 1 - SKU: A0.548510 Composed by Wade. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 4 pages. Jm...
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B-Flat Clarinet,Piano - Level 1 - SKU: A0.548510 Composed by Wade. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 4 pages. Jmsgu3 #3388105. Published by jmsgu3 (A0.548510). O Come All Ye Faithful arranged with new harmony for the final verse. Score: 3 pages, part: 1 page. Clarinet in Bb. O Come, All Ye Faithful O Come, All Ye Faithful is an English translation of the Latin Christmas carol Adeste Fideles. No one knows exactly who wrote it. One theory holds that King John IV of Portugal (1604–1656) wrote it. Another theory says John F. Wade or John Reading wrote it. Nowadays, we usually attribute it to John Wade. Seems like the oldest manuscript from 1751, is owned by Stonyhurst College in Lancashire. Lyrics The English translation O Come, All Ye Faithful was certainly written by Frederick Oakeley, a Catholic priest in 1841. This translation is probably the most common in the English speaking states. To begin with, the hymn had only four verses. Later, the verses grew to eight. Music directors often cut various verses because otherwise, the song goes too long. Some believe that St. Bonaventure wrote the first Latin lyrics. Others hold that King John IV of Portugal is responsible. Yet even others think the Cistercian monks wrote them. King John IV King John IV of Portugal was called The Musician King. He became king in 1640. In addition to performing the duties of a king, he was also a composer and music journalist. King John built a very large music library. Unfortunately, the library was ruined in 1755 because of the massive earthquake of Lisbon. In addition to building his library, the king started a Music School that produced many accomplished musicians. The king also worked diligently to get instrumental music approved by the Vatican for use in his churches. Aside from his authorship of Adeste Fideles, he is famous for another popular choral setting of the Crux Fidelis, a prevalent Lenten hymn. Performance in Context Verses are sometimes left out because all eight verses would take too long to perform. More to the point though, some of the verses may be unsuitable for whatever of the church calendar they are intended. The eighth verse deals with the Epiphany, so it makes sense to sing this on Epiphany Sunday, but not other Sundays. Similarly, other verses are used according to whether the event is Midnight Mass or regular daytime Mass.
$24.95
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
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We Had This Time
