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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
Let's Sing
Non classifié
1 156
Piano & claviers
Piano, Voix
826
Piano seul
762
Piano, Voix et Guitare
708
Piano Facile
456
Instruments en Do
57
Orgue
34
1 Piano, 4 mains
16
Piano grosses notes
15
Accompagnement Piano
9
Piano Trio: piano, violon, violoncelle
9
Piano Quatuor: piano, violon, alto, violoncelle
5
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Piano Quatuor: piano, 2 violons, violoncelle
3
Piano (partie séparée)
3
2 Pianos, 4 mains
2
Ligne De Mélodie, Piano
1
Orgue, Trompette (duo)
1
Accordéon
1
Orgue, Piano (duo)
1
+ 14 instrumentations
Retracter
Guitares
Guitare notes et tablatures
111
Guitare
58
Ligne De Mélodie, (Paroles) et Accords
42
Basse electrique
24
Ukulele
21
Dulcimer
4
4 Guitares (Quatuor)
3
Mandoline
3
Banjo
2
Paroles et Accords
2
Piano, Guitare (duo)
1
Guitare (partie séparée)
1
Basse électrique (partie séparée)
1
Ensemble de guitares
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
313
Chorale 3 parties
109
Chorale 2 parties
84
Chorale Unison
83
Chorale TTBB
59
Chorale SSAA
40
Voix Alto, Piano
27
Voix Tenor
25
Voix Soprano
24
Voix Baryton, Piano
23
Voix duo, Piano
21
Voix seule
16
Voix Soprano, Piano
11
Voix haute
8
Voix moyenne, Piano
5
Voix duo
4
Voix Tenor, Piano
3
Chorale SSAATTBB
2
Chorale
2
Chorale SSAB, Piano
1
Chorale SSATB
1
+ 16 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
98
2 Saxophones (duo)
91
Quintette de Saxophone: 5 saxophones
83
Clarinette et Piano
69
Saxophone Alto
65
Flûte traversière et Piano
60
Hautbois, Piano (duo)
57
Clarinette
56
Quatuor de Saxophones: 4 saxophones
54
Flûte traversière
48
Saxophone (partie séparée)
39
Saxophone Alto et Piano
38
Saxophone Tenor
37
Flûte, Hautbois, Clarinette, Basson
36
2 Clarinettes (duo)
35
2 Flûtes traversières (duo)
29
Saxophone Tenor et Piano
29
Hautbois (partie séparée)
26
Quatuor de Clarinettes: 4 clarinettes
23
Saxophone Soprano et Piano
22
Saxophone, Clarinette (duo)
18
Saxophone Baryton, Piano
17
Cor anglais, Piano
17
Ensemble de Clarinettes
17
Flûte, Clarinette (duo)
16
3 Saxophones (trio)
15
Quintette de Flûte : 5 flûtes
14
2 Hautbois (duo)
13
Clarinette, Violon (duo)
13
Quatuor de Flûtes : 4 flûtes
13
Flûte, Trombone (duo)
11
2 Flûte à bec (duo)
11
3 Clarinettes (trio)
10
Hautbois, Basson (duo)
10
Ensemble de saxophones
10
Clarinette, Trompette (duo)
9
Flûte, Violon
9
Flute (partie séparée)
8
Clarinette, Basson (duo)
8
Clarinette Basse, Piano
8
Ensemble de Flûtes
8
Quatuor de Flûtes à bec
7
Clarinette (partie séparée)
7
Hautbois, Clarinette (duo)
7
Flûte à bec Soprano
7
Hautbois, Flûte
6
Flûte, Trompette (duo)
6
Trio de Flûtes: 3 flûtes
6
Flûte, Alto (duo)
6
Saxophone Soprano
5
3 Flûtes à bec (trio)
5
Clarinette et Alto
5
Flûte à Bec
5
Flûte, Saxophone (duo)
5
5 Flûtes à bec
4
Flûte à bec Alto
4
Flûte, Clarinette et Basson
4
Hautbois
4
Flûte, Hautbois, Clarinette (trio)
4
Flûte, Hautbois, Basson
4
Flûte, Hautbois (duo)
3
Flûte, Hautbois, Piano (trio)
3
Clarinette, Violoncelle (duo)
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Flûte à bec Soprano, Piano
3
Flûte, Violon, Piano
3
Quintette de Clarinettes: 5 clarinettes
2
Flûte et Guitare
2
Flûte à bec Tenor
2
Flûte, Basson et Piano
2
Flûte irlandaise
2
Hautbois, violon (duo)
2
2 Flûtes à bec, Guitare
1
Piccolo
1
Flûte, Violoncelle, Piano (trio)
1
Saxophone
1
Clarinette, Harpe (duo)
1
Flûte de Pan
1
Clarinette, Violoncelle, Piano (trio)
1
Hautbois, Violoncelle
1
Clarinette, Trombone (duo)
1
2 Clarinettes, Piano
1
Piccolo, Piano
1
Clarinette, Contrebasse (duo)
1
Flûte, Violoncelle
1
Hautbois et alto (duo)
1
Flûte, Clarinette, Piano (trio)
1
Clarinette, Guitare (duo)
1
Cor Anglais
1
Hautbois, Guitare (duo)
1
Hautbois, trombone (duo)
1
2 Flûtes traversières, Piano
1
+ 87 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
145
Quatuor de Cuivres : 2 trompettes, trombone, tuba
62
Trompette
58
Trombone
46
Quatuor de cuivres: 4 trombones
41
Cor et Piano
40
Trombone et Piano
36
Trompette, Piano
35
Cor
30
Trompette (partie séparée)
25
Cor anglais, Piano
17
Trombone (partie séparée)
17
2 Trompettes (duo)
15
Tuba et Piano
14
Ensemble de Trompettes
13
2 Trombones (duo)
13
Tuba
13
Ensemble de Trombones
13
Euphonium, Piano (duo)
12
Trompette, Saxophone (duo)
12
Trompette, Trombone (duo)
12
Quatuor de Cuivres: 2 trompettes, Cor, trombone
11
2 Cors (duo)
10
Quatuor de Cuivres
9
Cor (partie séparée)
5
Ensemble de Cors
4
Euphonium
4
4 Tubas
3
Trio de Cuivres
3
Tuba (partie séparée)
3
Quatuor de cuivres: 4 trompettes
3
3 Trombones (trio)
3
Trompette, Cor (duo)
3
Quatuor de cuivres: 2 trompettes, 2 trombones
2
3 Cors (trio)
2
3 Tubas (trio)
2
2 Euphoniums (duo)
1
2 Tubas (duo)
1
Trompette, Violoncelle (duo)
1
Trompette, Basson (duo)
1
Trombone, Cor (duo)
1
Euphonium, Tuba (duo)
1
Quatuor de cuivres: 4 cors
1
Ensemble de Tubas
1
Cor Anglais
1
+ 40 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
168
Violon et Piano
137
Violon
69
Violoncelle, Piano
67
Violoncelle
47
Alto, Piano
47
Harpe
32
2 Violons (duo)
22
Violon, Violoncelle (duo)
22
Quintette à cordes: 2 violons, alto, violoncelle, basse
22
2 Violoncelles (duo)
22
Alto seul
21
2 Altos (duo)
21
Trio à Cordes: violon, alto, violoncelle
21
Violon, Alto (duo)
19
Alto (partie séparée)
17
Ensemble de Violons
11
Violon (partie séparée)
11
Trio à Cordes: 2 violons, violoncelle
10
Contre Basse
10
Ensemble d'Altos
9
Violon, Guitare (duo)
8
Contrebasse, Piano (duo)
8
4 Violoncelles
6
Alto, Violoncelle (duo)
6
Trio à Cordes: 2 violons, alto
5
Harpe, Voix
5
Contrebasse (partie séparée)
4
Trio à Cordes: 3 violoncelles
4
Trio à cordes: 3 violins
4
Quatuor à cordes: 4 violons
4
Violoncelle , Guitare (duo)
3
Quatuor à cordes : 4 altos
3
Trio à cordes: 3 altos
3
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Violoncelle (partie séparée)
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Trio à cordes
2
Violon, Orgue
1
2 Contrebasses (duo)
1
Violoncelle, Contrebasse (duo)
1
Alto, Guitare (duo)
1
Piano Trio: Violon, Alto, Piano
1
Harpe, Flûte (duo)
1
2 Harpes (duo)
1
Violon, Clarinette, Piano (trio)
1
Flûte, Contrebasse (duo)
1
+ 42 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
200
Cloches
123
Orchestre
112
Orchestre à Cordes
38
Orchestre de chambre
34
Ensemble de cuivres
33
Ensemble Jazz
31
Jazz combo
17
Fanfare
14
Ensemble de Percussions
13
Batterie
10
Percussion (partie séparée)
7
Ensemble d'École
3
Timbales (partie séparée)
2
Piano et Orchestre
1
Marimba
1
Vibraphone
1
Xylophone, Piano
1
Orchestre, Violon
1
Quintette de Cuivres: autres combinaisons
1
Xylophone
1
2 Marimbas
1
+ 17 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
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FLAMENCO
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
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Vous avez sélectionné:
Let's Sing
Euphonium, Piano (duo)
Partitions à imprimer
12 partitions trouvées
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1
Come, Thou Fount of Every Blessing (Jupiter) - Solo Euphonium & Piano
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Euphonium, Piano (duo)
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INTERMÉDIAIRE
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Gustav Holst / John Wyeth
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Garrett Breeze
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Come, Thou Fount of Every Bles
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Lagom Music
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SheetMusicPlus
Euphonium,Piano - Level 3 - SKU: A0.723280 Composed by Gustav Holst / John Wyeth. Arranged by Garrett Breeze. Christian,Concert,Contemporary,Graduation,...
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Euphonium,Piano - Level 3 - SKU: A0.723280 Composed by Gustav Holst / John Wyeth. Arranged by Garrett Breeze. Christian,Concert,Contemporary,Graduation,Sacred. Score and part. 11 pages. Lagom Music #6083269. Published by Lagom Music (A0.723280). This beautiful solo arrangement is one of composer Garrett Breeze’s most memorable works as it seamlessly weaves together two of England’s most beloved hymn tunes: Nettleton and Thaxted. Nettleton is most commonly heard today as the tune for the popular hymn Come, Thou Fount of Every Blessing. Thaxted has a prominent place in classical repertoire as the focal point of Gustav Holst’s Jupiter from The Planets. Suitable for church services, weddings, graduations, and recitals.Visit https://garrettbreeze.com to read my blog and discover new music!
$5.99
Don't Let The Sun Go Down On Me
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Euphonium, Piano (duo)
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INTERMÉDIAIRE
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Rock
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Elton John
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James M
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Piano. Duration: 5'27
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Don't Let The Sun Go Down On M
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jmsgu3
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SheetMusicPlus
Euphonium,Piano - Level 3 - SKU: A0.547806 By Elton John. By Bernie Taupin and Elton John. Arranged by James M. Guthrie, ASCAP. Pop,Rock. Score and part...
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Euphonium,Piano - Level 3 - SKU: A0.547806 By Elton John. By Bernie Taupin and Elton John. Arranged by James M. Guthrie, ASCAP. Pop,Rock. Score and part. 14 pages. Jmsgu3 #3053407. Published by jmsgu3 (A0.547806). Elton John: Don't Let The Sun Go Down On Me arranged for Euphonium & Piano. Duration: 5'27 Score: 7 pages. Solo part: 2 pages. Piano part: 4 pages. Co-written by Elton John and Bernie Taupin in January of 1974, this song was originally recorded in 1974 for Elton's studio album Caribou. It was released as a single that peaked at number two on the Billboard Hot 100 chart. In the US, the single was certified Gold on 6 September 1974 by the RIAA. Many consider this to be Elton John's greatest song. The melody fits well in the tessitura of the solo instrument and features some challenging rhythms for sight-reading. The arrangement is well suited for performance in church, nightclub or recital stage.
$53.95
Let It Go
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Euphonium, Piano (duo)
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INTERMÉDIAIRE/AVANCÉ
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Idina Menzel
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MAJOR SCORE PUBLISHING TM
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Let It Go
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Major Score Publishing
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SheetMusicPlus
Euphonium,Piano - Level 4 - SKU: A0.834715 By Idina Menzel. By Kristen Anderson-Lopez and Robert Lopez. Arranged by MAJOR SCORE PUBLISHING TM. Broadway,...
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Euphonium,Piano - Level 4 - SKU: A0.834715 By Idina Menzel. By Kristen Anderson-Lopez and Robert Lopez. Arranged by MAJOR SCORE PUBLISHING TM. Broadway,Contemporary,Film/TV,Musical/Show,Pop,Singer/Songwriter. Score and part. 23 pages. Major Score Publishing #6599315. Published by Major Score Publishing (A0.834715). Look no further! Are you looking for highly detailed and authentic sheet music that will deliver a fantastic performance of Let it go for you and your audience? Perfect for concerts, recitals, auditions, cabaret, holiday events or just playing along to the original recording! we've got you covered! This highly detailed arrangement includes full piano accompaniment (also doubling as the score) and instrumental part. Be sure to take a look at the preview PDF's and listen to the 30 second sample! This arrangement is in the original key as performed by Idina Menzel in concert F minor. Enjoy!
$8.99
Sullivan: The Lost Chord for Euphonium & Piano
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Euphonium, Piano (duo)
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INTERMÉDIAIRE/AVANCÉ
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Sir Arthur Seymour Sullivan
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James M
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Sullivan: The Lost Chord for E
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jmsgu3
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SheetMusicPlus
Euphonium,Piano - Level 4 - SKU: A0.549459 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,S...
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Euphonium,Piano - Level 4 - SKU: A0.549459 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497273. Published by jmsgu3 (A0.549459). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95
Bach: Wachet auf for Euphonium & Piano
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Euphonium, Piano (duo)
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FACILE
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Classique
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Euphonium
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jmsgu3
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SheetMusicPlus
Euphonium,Piano - Level 2 - SKU: A0.549854 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standar...
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Euphonium,Piano - Level 2 - SKU: A0.549854 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3555095. Published by jmsgu3 (A0.549854). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. .
$24.95
Bach: Wachet auf for Baritone Horn & Piano
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Euphonium, Piano (duo)
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FACILE
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Classique
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Baritone
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jmsgu3
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SheetMusicPlus
Euphonium,Piano - Level 2 - SKU: A0.549852 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standar...
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Euphonium,Piano - Level 2 - SKU: A0.549852 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3555081. Published by jmsgu3 (A0.549852). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. .
$24.95
The Easy Winners, for Euphonium and Piano
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Euphonium, Piano (duo)
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INTERMÉDIAIRE/AVANCÉ
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Ragtime
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Scott Joplin
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David McKeown
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The Easy Winners, for Euphoniu
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David McKeown
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SheetMusicPlus
Euphonium,Piano - Level 4 - SKU: A0.1106197 Composed by Scott Joplin. Arranged by David McKeown. 20th Century,Jazz,Ragtime. Score and part. 8 pages. Dav...
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Euphonium,Piano - Level 4 - SKU: A0.1106197 Composed by Scott Joplin. Arranged by David McKeown. 20th Century,Jazz,Ragtime. Score and part. 8 pages. David McKeown #709311. Published by David McKeown (A0.1106197). The Easy Winners was one of many solo piano rags written by Scott Joplin. Published in 1901, It is considered to be one of Joplin’s finest and most adventurous works. Indeed the complex harmony made the first publisher so nervous that he only released a simplified version. The Easy Winners refers to elite athletes who featured on the original title page. This arrangement of The Easy Winners is arranged as a solo for one Euphonium with Piano accompaniment. Both the piano and the separate solo part are included in the one downloadable pdf file. Musicians at an intermediate level and above will find this ideal for formal and informal performances. The overall performance time, with repeats, is between four and five minutes. Teachers will enjoy using this arrangement as a fun way to help with phrasing, syncopated rhythms and light articulation. Click the YouTube link to hear a full performance of the clarinet version of this arrangement. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
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
How Beautiful are the Feet, (from the Messiah), by Handel, for Solo Euphonioum and Piano
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Euphonium, Piano (duo)
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INTERMÉDIAIRE
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G F Handel
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David McKeown
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How Beautiful are the Feet,
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David McKeown
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SheetMusicPlus
Euphonium,Piano - Level 3 - SKU: A0.594416 Composed by G F Handel. Arranged by David McKeown. Baroque,Christmas,Easter,Sacred. Score and part. 4 pages. ...
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Euphonium,Piano - Level 3 - SKU: A0.594416 Composed by G F Handel. Arranged by David McKeown. Baroque,Christmas,Easter,Sacred. Score and part. 4 pages. David McKeown #6658347. Published by David McKeown (A0.594416). How Beautiful are the Feet is one of the best loved arias from G F Handel’s oratorio The Messiah. This version is arranged as a solo for Euphonium (treble clef, in B Flat) with piano accompaniment.The original 1741 version of The Messiah presented How Beautiful are the Feet as a duet for two altos and choir, but in 1749 Handel revised the piece as a solo aria for soprano. This revision forms the basis for this arrangement. The text is taken directly from the book of Romans in the New Testament.Musicians at an intermediate standard will find this ideal for formal and informal concert performances. Click the link YouTube link to listen to a complete performance of the clarinet version of this arrangement.Total performance time is around two minutes. Teachers will enjoy using this arrangement as a fun way to approach expressive playing and phrasing. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$4.60
Dying and Dancing for Euphonium and Piano
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Euphonium, Piano (duo)
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AVANCÉ
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Russell Scarbrough
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Dying and Dancing for Euphoniu
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Gordon Cherry
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SheetMusicPlus
Euphonium,Piano - Level 5 - SKU: A0.792567 Composed by Russell Scarbrough. 20th Century,Contemporary. Score and part. 25 pages. Gordon Cherry #5008597. ...
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Euphonium,Piano - Level 5 - SKU: A0.792567 Composed by Russell Scarbrough. 20th Century,Contemporary. Score and part. 25 pages. Gordon Cherry #5008597. Published by Gordon Cherry (A0.792567). As the title suggests the work dying and dancing for Euphonium solo and Piano accompaniment is in two parts, which are played without a pause between the two. The first part, an adagio, is not necessarily meant to be evocative of the actual act of passing away, but more perhaps of the contemplation and reflection upon one’s life as that time approaches, and particularly of sorrow over regret and disappointment. The unsettled mood of the music reflects this bitterness, and stands in contrast to the expansive peace of the grave, heard at the beginning and end of the adagio. Dance, with ironic wit, the second part, is the other side of the same coin; perhaps humor of the gallows describes its spirit. At once fatalist and mocking, it brings to mind the words of the ancient teacher Koheleth, The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth. I was pleased to compose dying and dancing in 2013 for Mark Kellogg, a superb Euphonium artist and my former trombone professor at the Eastman School of Music.
$27.50
Colour My World
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Euphonium, Piano (duo)
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INTERMÉDIAIRE
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Rock
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Chicago
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James M
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Colour My World
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jmsgu3
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SheetMusicPlus
Euphonium,Piano - Level 3 - SKU: A0.548367 By Chicago. By James Pankow. Arranged by James M. Guthrie, ASCAP. Pop,Rock. Score and part. 10 pages. Jmsgu3 ...
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Euphonium,Piano - Level 3 - SKU: A0.548367 By Chicago. By James Pankow. Arranged by James M. Guthrie, ASCAP. Pop,Rock. Score and part. 10 pages. Jmsgu3 #3243023. Published by jmsgu3 (A0.548367). Duration: 3:04 Score: 38 measures in 12/8 at dotted quarter = 50, 6 pages, solo part: 1 page, piano part: 3 pages. Suitable for performance in recital, church or small combo. Colour My World was written by American musician James Pankow, one of the founding members of the rock/jazz fusion band Chicago. Part of Pankow's Ballet for a Girl in Buchannon song cycle/suite, it was recorded for their second album Chicago, also called Chicago II (1970). Terry Kath sings the lead vocal, and Walter Parazaider performs the highly recognizable flute solo.
$53.95
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