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ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
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HAUTBOIS
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LUTH
MANDOLINE
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OCARINA
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chopin
Non classifié
117
Piano & claviers
Piano seul
781
Piano, Voix
20
Piano Facile
16
Accompagnement Piano
14
Accordéon
7
Piano Trio: piano, violon, violoncelle
6
Instruments en Do
5
Piano, Voix et Guitare
5
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Piano Quatuor: piano, violon, alto, violoncelle
3
1 Piano, 4 mains
3
2 Pianos, 4 mains
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Orgue, Piano (duo)
1
Orgue
1
Clavier
1
+ 11 instrumentations
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Guitares
Guitare
32
Guitare notes et tablatures
25
2 Guitares (duo)
14
Ukulele
11
Basse electrique
3
4 Guitares (Quatuor)
3
3 Guitares (trio)
2
Ligne De Mélodie, (Paroles) et Accords
1
Guitare, Violon, Violoncelle (trio)
1
+ 4 instrumentations
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Voix
Chorale SATB
11
Chorale 2 parties
1
Chorale 3 parties
1
Chorale TTBB
1
Vents
Flûte traversière et Piano
59
Clarinette et Piano
39
Hautbois, Piano (duo)
29
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
27
2 Saxophones (duo)
25
Saxophone Alto et Piano
22
Flûte traversière
21
Quatuor de Saxophones: 4 saxophones
20
Flûte et Guitare
18
Flûte, Hautbois, Clarinette, Basson
17
Saxophone Soprano et Piano
17
2 Flûtes traversières (duo)
16
Quatuor de Clarinettes: 4 clarinettes
16
Clarinette
15
Saxophone Alto
14
2 Clarinettes (duo)
11
Saxophone Tenor et Piano
10
Saxophone Tenor
9
Saxophone Baryton, Piano
9
Flûte, Clarinette (duo)
6
Quintette de Saxophone: 5 saxophones
6
Flûte, Violon, Piano
5
Quatuor de Flûtes à bec
4
2 Clarinettes, Piano
3
Flûte, Violon
3
Clarinette, Violon (duo)
3
5 Flûtes à bec
3
Clarinette Basse, Piano
3
Cor anglais, Piano
3
Clarinette, Guitare (duo)
2
Hautbois (partie séparée)
2
2 Saxophones, Piano
2
Clarinette, Violoncelle (duo)
2
3 Saxophones (trio)
2
Flûte, Violoncelle, Guitare
2
Saxophone et Guitare
2
Saxophone
2
Trio de Flûtes: 3 flûtes
2
Flûte, Alto et Piano
1
Flûte, trombone et piano
1
Quintette de Clarinettes: 5 clarinettes
1
2 Flûtes à bec, Piano
1
Flûte à Bec, Piano
1
Hautbois, violon (duo)
1
3 Clarinettes (trio)
1
2 Hautbois (duo)
1
Flûte, Violon et Violoncelle
1
Flûte, Alto (duo)
1
Quatuor de Flûtes : 4 flûtes
1
Flûte, Clarinette, Piano (trio)
1
Flûte, Violoncelle
1
2 Flûtes traversières, Piano
1
2 Flûte à bec (duo)
1
Flûte, Violon, Guitare
1
Clarinette, Harpe (duo)
1
Flûte, Basson et Piano
1
Flûte à bec Tenor
1
Flûte, Hautbois (duo)
1
Flûte à bec Alto
1
+ 54 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
19
Cor et Piano
10
Trombone
9
Trombone et Piano
9
Trompette, Piano
8
Quatuor de Cuivres : 2 trompettes, trombone, tuba
8
Trompette
8
2 Trompettes (duo)
5
2 Trombones (duo)
4
Cor
4
Tuba et Piano
4
Trompette, Trombone (duo)
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Euphonium, Piano (duo)
3
Cor anglais, Piano
3
Ensemble de Cors
2
Trombone basse et Piano
1
2 Trompettes, Clavier (piano ou orgue)
1
Trompette, Trombone, Piano
1
Quatuor de cuivres: 4 cors
1
2 Cors (duo)
1
Trompette (partie séparée)
1
+ 17 instrumentations
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Cordes
Violon et Piano
65
Quatuor à cordes: 2 violons, alto, violoncelle
62
Alto, Piano
47
Violoncelle, Piano
41
Violon
24
Violoncelle
22
2 Violons (duo)
14
2 Altos (duo)
10
Violon, Violoncelle (duo)
9
2 Violoncelles (duo)
8
Harpe
8
Alto seul
7
Trio à Cordes: violon, alto, violoncelle
7
Violon, Alto (duo)
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
Alto, Guitare (duo)
4
Violon, Guitare (duo)
4
Contrebasse, Piano (duo)
4
Harpe, Flûte (duo)
3
Quatuor à cordes: 4 violons
3
2 Violoncelles, Piano
2
Trio à Cordes: 2 violons, violoncelle
2
Alto (partie séparée)
2
Trio à cordes
2
Alto, Violoncelle (duo)
2
Quatuor à cordes : 4 altos
2
2 Harpes (duo)
1
Violoncelle , Guitare (duo)
1
Alto et Basson
1
Violon, Basson (duo)
1
2 Violons, Piano
1
Harpe, Violon, Violoncelle
1
Harpe, Violon (duo)
1
Piano Trio: Violon, Alto, Piano
1
4 Violoncelles
1
Trio à cordes: 3 violins
1
+ 31 instrumentations
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Orchestre & Percussions
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13
Orchestre
6
Cloches
5
Orchestre de chambre
5
Ensemble de cuivres
3
Orchestre d'harmonie
3
Batterie
2
Ensemble Jazz
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…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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ORGUE
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PIANO
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Vous avez sélectionné:
chopin
intermédiaire
Euphonium, Piano (duo)
Partitions à imprimer
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Chopin: Largo from Op. 65 for Euphonium & Piano
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Euphonium, Piano (duo)
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INTERMÉDIAIRE
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Classique
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Frederic Chopin
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James M
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Cello, Op
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Chopin: Largo from Op. 65 for
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jmsgu3
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SheetMusicPlus
Euphonium,Piano - Level 3 - SKU: A0.552000 Composed by Frederic Chopin. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards,Wedding. Score a...
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Euphonium,Piano - Level 3 - SKU: A0.552000 Composed by Frederic Chopin. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards,Wedding. Score and part. 6 pages. Jmsgu3 #6050957. Published by jmsgu3 (A0.552000). Score: 5 pages. Duration 3:40This is the third movement of the Sonata in G Minor for Piano & Cello, Op. 65.Chopin performed this sonata on his final recital in 1848.
$32.95
Scriabin: Prelude Op. 11 No. 2 for Baritone Horn & Piano
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Euphonium, Piano (duo)
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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
Euphonium,Piano - Level 3 - SKU: A0.549481 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sa...
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Euphonium,Piano - Level 3 - SKU: A0.549481 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3500065. Published by jmsgu3 (A0.549481). 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
Scriabin: Prelude Op. 11 No. 2 for Euphonium & Piano
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Euphonium, Piano (duo)
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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
Euphonium,Piano - Level 3 - SKU: A0.549480 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sa...
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Euphonium,Piano - Level 3 - SKU: A0.549480 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3500061. Published by jmsgu3 (A0.549480). 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
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