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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
Prelude in G
Non classifié
175
Piano & claviers
Piano seul
371
Orgue
72
Piano Facile
27
Piano, Voix
13
Piano, Voix et Guitare
8
Piano Trio: piano, violon, violoncelle
5
Accompagnement Piano
5
Instruments en Do
4
Clavecin
2
Clavier
1
2 Pianos, 4 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 8 instrumentations
Retracter
Guitares
Guitare notes et tablatures
20
Guitare
8
Piano, Guitare (duo)
3
Ukulele
3
Banjo
2
4 Guitares (Quatuor)
2
+ 1 instrumentations
Retracter
Voix
Chorale SATB
6
Chorale 2 parties
2
Voix Tenor, Piano
2
Voix Alto, Piano
1
Voix seule
1
Chorale 3 parties
1
+ 1 instrumentations
Retracter
Vents
Flûte traversière et Piano
29
Saxophone Tenor et Piano
27
Clarinette et Piano
19
Hautbois, Piano (duo)
16
Saxophone Soprano et Piano
14
Quatuor de Saxophones: 4 saxophones
13
Saxophone Alto et Piano
12
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
10
Flûte, Hautbois, Clarinette, Basson
8
Flûte, trombone et piano
8
3 Saxophones (trio)
7
Flûte traversière
7
Flûte, Clarinette, Piano (trio)
5
Clarinette
5
Quatuor de Clarinettes: 4 clarinettes
5
2 Flûtes traversières, Piano
4
Ensemble de Clarinettes
4
Flûte, Hautbois, Clarinette (trio)
4
Flûte, Violon, Piano
4
Flûte, Alto et Piano
4
Clarinette, Violon (duo)
4
2 Clarinettes, Piano
4
2 Flûtes traversières (duo)
4
Flûte, Violon et Violoncelle
3
Flûte, Violoncelle, Piano (trio)
2
Saxophone Baryton, Piano
2
Cor anglais, Piano
2
Ensemble de Flûtes
2
Quatuor de Flûtes : 4 flûtes
2
Flûte, Violoncelle
2
Flûte, Violon
2
Clarinette, Violoncelle, Piano (trio)
2
2 Saxophones (duo)
2
Clarinette, trompette et piano
2
Quintette de Flûte : 5 flûtes
2
Flûte, Violoncelle, Guitare
1
Flûte et Guitare
1
Quatuor de Flûtes à bec
1
Clarinette, Violoncelle (duo)
1
Flûte, Hautbois, Piano (trio)
1
Flûte, Trombone (duo)
1
Saxophone
1
Flûte à bec Soprano
1
Quintette de Clarinettes: 5 clarinettes
1
Hautbois, Violoncelle
1
Flûte, Violon, Violoncelle et Piano
1
2 Saxophones, Piano
1
Hautbois
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Hautbois, Basson (duo)
1
Clarinette, Saxophone, Piano
1
Flûte, Clarinette (duo)
1
3 Clarinettes (trio)
1
Saxophone (partie séparée)
1
Clarinette, Trombone (duo)
1
Clarinette Basse, Piano
1
Saxophone Alto
1
+ 52 instrumentations
Retracter
Cuivres
Trompette, Piano
18
Trombone et Piano
17
Quatuor de Cuivres: 2 trompettes, Cor, trombone
16
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Cor et Piano
8
Quatuor de cuivres: 4 trompettes
4
Euphonium, Piano (duo)
4
2 Euphoniums et 2 Tubas
3
Trompette (partie séparée)
2
Cor anglais, Piano
2
Tuba et Piano
2
4 Tubas
2
Trompette, Trombone, Piano
2
Ensemble de Trombones
2
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Quatuor de cuivres: 4 cors
1
Trompette, Trombone (duo)
1
2 Cors (duo)
1
Cor
1
Cor, Violoncelle (duo)
1
Trio de Cuivres
1
Trompette
1
Tuba
1
Quatuor de cuivres: 4 trombones
1
+ 19 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
38
Violon et Piano
32
Violoncelle
20
Alto, Piano
20
Trio à Cordes: violon, alto, violoncelle
18
Violoncelle, Piano
16
Violon
15
Trio à Cordes: 2 violons, violoncelle
8
Violon, Violoncelle (duo)
7
Harpe
7
2 Violoncelles (duo)
6
Trio à cordes: 3 violins
6
Alto seul
5
Harpe, Violon (duo)
4
Alto et Harpe
4
Harpe, Violoncelle (duo)
4
4 Violoncelles
4
Harpe, Voix
3
Violon (partie séparée)
3
Quatuor à cordes: 4 violons
3
2 Violons (duo)
3
Harpe, Flûte (duo)
2
Contrebasse, Piano (duo)
2
Violon, Alto (duo)
2
Alto et Basson
1
Violon, Clarinette, Piano (trio)
1
Alto, Violoncelle (duo)
1
Contre Basse
1
Alto (partie séparée)
1
Violon, Basson (duo)
1
2 Violoncelles, Piano
1
Violoncelle (partie séparée)
1
Ensemble de Violons
1
+ 28 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
26
Orchestre à Cordes
17
Orchestre
8
Ensemble de cuivres
7
Cloches
2
Orchestre de chambre
1
Ensemble de Percussions
1
Percussion
1
+ 3 instrumentations
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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
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Crtitères actifs :
Prelude in G
Euphonium, Piano (duo)
Partitions à imprimer
4 partitions trouvées
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1
Scriabin: Prelude in G Minor 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 in G Minor f
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jmsgu3
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SheetMusicPlus
Euphonium,Piano - Level 3 - SKU: A0.550370 Composed by Alexander Scriabin. Arranged by James M. Guthrie. Holiday,Romantic Period,Sacred,Standards. Score...
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Euphonium,Piano - Level 3 - SKU: A0.550370 Composed by Alexander Scriabin. Arranged by James M. Guthrie. Holiday,Romantic Period,Sacred,Standards. Score and part. 8 pages. Jmsgu3 #4614409. Published by jmsgu3 (A0.550370). Prelude Op. 11 No. 22 Score: 6 pages. Duration ca. 1:15. Bring your best rubato for this short but sensitive prelude in G minor.
$32.95
Scriabin: Prelude Op. 11 No. 2 for Baritone Horn & Piano
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Euphonium, Piano (duo)
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INTERMÉDIAIRE
#
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)
#
INTERMÉDIAIRE
#
Alexander Scriabin
#
James M
#
Scriabin: Prelude Op. 11 No. 2
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jmsgu3
#
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
Bach-Gounod: Ave Maria for Baritone (or Euphonium) and Piano
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Euphonium, Piano (duo)
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FACILE
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J S Bach-Gounod
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Colin Kirkpatrick
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Bach-Gounod: Ave Maria for Bar
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Colin Kirkpatrick Publications
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SheetMusicPlus
Euphonium,Piano - Level 2 - SKU: A0.1310506 Composed by J S Bach-Gounod. Arranged by Colin Kirkpatrick. Instructional,Religious,Sacred,Wedding. Score an...
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Euphonium,Piano - Level 2 - SKU: A0.1310506 Composed by J S Bach-Gounod. Arranged by Colin Kirkpatrick. Instructional,Religious,Sacred,Wedding. Score and part. 7 pages. Colin Kirkpatrick Publications #899564. Published by Colin Kirkpatrick Publications (A0.1310506). This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favorite among instrumental players and often used in recitals or concert encores. This arrangement by Colin Kirkpatrick is ideal for the intermediate baritone or euphonium player. Solo parts are provided (a) in bass clef in which the range is from the lowest G on the staff to the E just above it and (b) in treble clef transposed for B flat instrument in which the range is from the A just below the treble staff to the F sharp on the top line. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the “combined†piece was Méditation sur le Premier Prélude de Piano de S. Bach. Gounod’s original arrangement transposed Bach’s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-Léopold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary.The version of Bach's prelude which Gounod used included the so-called Schwencke measure (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a “harmonic weakness†(or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.
$7.95
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Prelude in G
