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TRI ET FILTRES
Tri et filtres :
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ACCORDEON
ALTO
AUTOHARPE
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CHORALE - CHAN…
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CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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EUPHONIUM
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
HARMONICA
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SAXOPHONE
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PIANO & CLAVIERS
Piano seul
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Piano, Voix
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Piano, Voix et Guitare
117
Piano Facile
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Instruments en Do
48
Orgue
45
1 Piano, 4 mains
24
2 Pianos, 4 mains
13
Piano Quatuor: piano, violon, alto, violoncelle
12
Accompagnement Piano
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Piano Trio: piano, violon, violoncelle
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Piano (partie séparée)
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Piano Quintette: piano, 2 violons, alto, violoncelle
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Accordéon
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Clavecin
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Piano grosses notes
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2 Accordéons
1
1 Piano, 6 mains
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Guitare
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Banjo
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3 Guitares (trio)
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VOIX
Chorale SATB
246
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35
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Voix duo, Piano
9
Voix Soprano, Piano
7
Voix Alto, Piano
5
Voix haute
5
Voix Baryton, Piano
5
Voix duo
3
Voix Tenor, Piano
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Voix seule
2
Voix moyenne, Piano
2
Voix basse, Piano
1
Voix Tenor
1
Chorale
1
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VENTS
Flûte traversière et Piano
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Quatuor de Saxophones: 4 saxophones
83
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Clarinette et Piano
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Saxophone (partie séparée)
38
2 Saxophones (duo)
37
Saxophone Soprano et Piano
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Clarinette
35
Quintette de Saxophone: 5 saxophones
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2 Flûtes traversières (duo)
32
Flûte traversière
32
Saxophone Tenor et Piano
32
2 Clarinettes (duo)
31
Saxophone Alto
31
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24
Saxophone Tenor
21
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21
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19
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16
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15
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7
2 Hautbois (duo)
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Hautbois, Flûte
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Flûte à Bec
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Flûte, Trompette (duo)
6
3 Clarinettes (trio)
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5 Flûtes à bec
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Clarinette et Alto
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Clarinette, Guitare (duo)
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Flûte, Saxophone (duo)
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3
Hautbois, Guitare (duo)
3
Quatuor de Flûtes à bec
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Flûte et Guitare
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Hautbois
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Flûte, Violon, Piano
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2 Flûte à bec (duo)
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Flûte à bec Soprano, Piano
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2 Flûtes traversières, Piano
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Quintette de Clarinette: Clarinette, Quatuor à Cordes
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Flûte à bec Alto, Basse continue
1
Clarinette, Trombone (duo)
1
Clarinette, Harpe (duo)
1
Flute, alto, violoncelle et guitare
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Flûte, Violoncelle, Guitare
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Flûte, Hautbois, Piano (trio)
1
Cor Anglais
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Hautbois et alto (duo)
1
Hautbois, violon (duo)
1
Flûte, Hautbois, Clarinette (trio)
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
68
Trombone et Piano
45
Quatuor de Cuivres : 2 trompettes, trombone, tuba
40
Trompette
39
Trompette, Piano
35
Cor et Piano
29
Cor
22
Trombone (partie séparée)
22
Tuba et Piano
21
Trombone
21
Quatuor de Cuivres: 2 trompettes, Cor, trombone
18
Trompette (partie séparée)
15
Cor anglais, Piano
13
Tuba
11
Trompette, Saxophone (duo)
11
2 Trompettes (duo)
10
Euphonium, Piano (duo)
10
2 Trombones (duo)
8
Trompette, Trombone (duo)
6
Ensemble de Trombones
5
Quatuor de Cuivres
5
Quatuor de cuivres: 4 trombones
4
2 Cors (duo)
4
Trompette, violon (duo)
3
Ensemble de Trompettes
3
Cor anglais, Guitare (duo)
3
2 Euphoniums et 2 Tubas
2
Trio de Cuivres
2
Ensemble de Cors
2
Quatuor de cuivres: 4 cors
2
Cor et Harpe
1
Tuba et Orgue
1
Trompette, Harpe
1
3 Trombones (trio)
1
Trompette, Cor (duo)
1
Tuba (partie séparée)
1
Cor Anglais
1
Cor (partie séparée)
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
194
Violon et Piano
93
Violoncelle, Piano
74
Alto, Piano
66
Violon
54
Violoncelle
46
Harpe
43
2 Violons (duo)
28
Trio à Cordes: violon, alto, violoncelle
26
Violon, Violoncelle (duo)
25
Contrebasse, Piano (duo)
20
Alto seul
15
Trio à Cordes: 2 violons, violoncelle
15
Violon, Alto (duo)
14
2 Violoncelles (duo)
12
Contre Basse
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
9
Alto (partie séparée)
9
2 Altos (duo)
9
Contrebasse (partie séparée)
6
Violon (partie séparée)
5
2 Harpes (duo)
4
Violoncelle, Contrebasse (duo)
3
Trio à cordes: 3 violins
3
Violoncelle , Guitare (duo)
3
Harpe, Violon (duo)
2
Ensemble de Violons
2
Harpe, Flûte (duo)
2
Violon, Guitare (duo)
2
4 Violoncelles
2
Alto, Violoncelle (duo)
2
Piano Trio: Violon, Alto, Piano
2
Violoncelle (partie séparée)
2
Trio à Cordes: 3 violoncelles
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Trio à Cordes: 2 violons, alto
1
Violoncelle, Basse continue
1
Alto et Basson
1
Harpe, Voix
1
Alto et Harpe
1
Violon, Clarinette, Piano (trio)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
229
Orchestre
121
Orchestre à Cordes
92
Cloches
69
Ensemble Jazz
69
Ensemble de cuivres
60
Orchestre de chambre
27
Jazz combo
17
Ensemble de Percussions
11
Batterie
9
Fanfare
6
Batterie (partie séparée)
4
Xylophone, Piano
2
Vibraphone
1
Piano et Orchestre
1
Marimba
1
3 Percussions
1
Orchestre, Violon
1
Marimba, Piano (duo)
1
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Euphonium, Piano (duo)
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It's Been A Long, Long Time
Euphonium, Piano (duo)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.592533 Composed by Jule Styne.…
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Euphonium,Piano - Level 3 - Digital Download SKU: A0.592533 Composed by Jule Styne. Arranged by David McKeown. Contemporary. Score and part. 6 pages. David McKeown #6366335. Published by David McKeown (A0.592533). It’s Been a Long Long Time is arranged as a solo for one Euphonium with Piano accompaniment. It’s Been a Long Long Time is best known to modern audiences as the song at the end of The Avengers, Endgame, where Steve Rogers, after seventy years, finally gets his dance with Peggy Carter. The song of course, is much older. Two versions of It’s Been a Long Long Time topped the charts in late 1945, and as US servicemen returned from Europe and the Pacific, it perfectly caught the mood of the times. One version was by Bing Crosby, and the other by the Harry James Orchestra featuring Kitty Kallen on vocals. It is the latter version that is heard in Endgame and the one that forms the basis of this arrangement.Musicians at an intermediate standard will find It’s Been a Long Long Time ideal for formal and informal concert performances. with both solo instrument and piano enjoying plenty of melodic interest. The separate solo part is included with the piano score in the same pdf file. The overall performance time is just over two and a half minutes. Click the link above to listen to a full performance of the clarinet version on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.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
$5.99
5.45 €
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Euphonium, Piano (duo)
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Jule Styne
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David McKeown
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It's Been A Long, Long Time
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David McKeown
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SheetMusicPlus
Jingle Bells (James Lord Pierpont) for Euphonium B.C. and Piano
Euphonium, Piano (duo)
Euphonium,Piano - Level 2 - Digital Download SKU: A0.1512590 Composed by James Lord…
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Euphonium,Piano - Level 2 - Digital Download SKU: A0.1512590 Composed by James Lord Pierpont. Arranged by Harry Walker. 19th Century,Chamber,Christmas,Contest,Festival,Holiday. Score and part. 10 pages. SCORE EDITIONS #1087572. Published by SCORE EDITIONS (A0.1512590). Jingle Bells, composed by James Lord Pierpont in 1857, is one of the most iconic holiday songs. Originally written to capture the thrill of sleigh rides, its joyful and infectious melody quickly turned it into a Christmas classic, despite not specifically referencing the holiday. This modern arrangement maintains the original energy while introducing a fresh interpretation, making it a perfect choice for festive concerts and celebrations.
$5.99
5.45 €
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Euphonium, Piano (duo)
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James Lord Pierpont
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Harry Walker
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Jingle Bells
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SCORE EDITIONS
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SheetMusicPlus
Gymnopedie No. 1
Euphonium, Piano (duo)
Euphonium,Piano - Level 2 - Digital Download SKU: A0.1245299 Composed by Erik Satie…
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Euphonium,Piano - Level 2 - Digital Download SKU: A0.1245299 Composed by Erik Satie. Arranged by Samuel Sequeira. 19th Century,Classical. Score and part. 6 pages. Samuel Sequeira #840169. Published by Samuel Sequeira (A0.1245299). Gymnopedie No. 1 - Erik Satie - Euphonium/PianoPlay it at home, with friends, on class, for your teacher or studentPlay it on a public presentation.I present to you a captivating arrangement for Euphonium and piano of Gymnopédie No. 1 by Erik Satie, with a Youtube PlayAlong VideoIn this arrangement, the euphonium takes on the haunting melodies of Satie's iconic composition, while the piano provides a delicate and supportive accompaniment. The combination of these two instruments creates a unique and enchanting musical experience.The arrangement begins with the gentle and sparse opening chords on the piano, creating a serene atmosphere. As the euphonium enters, it carries the iconic melody, infusing it with its rich and velvety tones. The euphonium's warm and expressive qualities add an extra layer of depth to the music, enhancing its introspective and contemplative nature.Throughout the arrangement, the euphonium and piano engage in a musical dialogue, blending their sounds in perfect harmony. The piano provides a nuanced and sensitive backdrop, supporting the euphonium's melodic lines and adding depth to the arrangement. The euphonium, in turn, soars above the piano, capturing the listener's imagination and conveying the emotional depth of Satie's composition.The arrangement maintains the simplicity and elegance of Satie's original work while allowing for subtle interpretations and expressive phrasing from both the euphonium and piano. Together, they create a captivating rendition that invites the listener on a reflective and introspective journey.Gymnopédie No. 1 is a timeless piece that has touched the hearts of many. This arrangement for euphonium and piano allows the beauty of Satie's music to shine through in a new and captivating way, showcasing the expressive capabilities of both instruments.You can find me on:Instagram: @SamuelseqYouTube: @SamuelSeqMore arrangements on: Sam'S arrangementsThanks for listening, and happy playing!
$5.99
5.45 €
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Euphonium, Piano (duo)
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Erik Satie
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Samuel Sequeira
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Gymnopedie No. 1
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Samuel Sequeira
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SheetMusicPlus
Sullivan: The Lost Chord for Euphonium & Piano
Euphonium, Piano (duo)
Euphonium,Piano - Level 4 - Digital Download SKU: A0.549459 Composed by Sir Arthur …
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Euphonium,Piano - Level 4 - Digital Download 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
24.54 €
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Euphonium, Piano (duo)
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Sir Arthur Seymour Sullivan
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James M
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dynamic control
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Sullivan: The Lost Chord for Euphonium & Piano
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jmsgu3
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SheetMusicPlus
Bach-Gounod: Ave Maria for Euphonium & Piano
Euphonium, Piano (duo)
Euphonium,Piano - Level 2 - Digital Download SKU: A0.549370 Composed by Bach-Gounod…
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Euphonium,Piano - Level 2 - Digital Download SKU: A0.549370 Composed by Bach-Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Easter,Wedding. Score and part. 11 pages. Jmsgu3 #3491309. Published by jmsgu3 (A0.549370). This arrangement follows the original Bach prelude and so excludes the extra measure that Schwencke introduced in 1783. If you prefer the extra measure, please see Bach-Gounod: Ave Maria, Schwencke version for Euphonium & Piano, S0.661829. The convenient 1st & 2nd endings provide an option for extended performance with minimal page turns for the accompanist. The duration with repeat is about 4:50. Score: 6 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. 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 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 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 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 an engaging 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. Â
$32.95
30 €
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Euphonium, Piano (duo)
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Bach-Gounod
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James M
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Piano, S0
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Bach-Gounod: Ave Maria for Euphonium & Piano
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jmsgu3
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SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Baritone Horn & Piano
Euphonium, Piano (duo)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.549481 Composed by Alexander S…
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Euphonium,Piano - Level 3 - Digital Download 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
18.17 €
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Euphonium, Piano (duo)
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2 for Baritone Horn & Piano
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jmsgu3
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SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Euphonium & Piano
Euphonium, Piano (duo)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.549480 Composed by Alexander S…
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Euphonium,Piano - Level 3 - Digital Download 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
18.17 €
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Euphonium, Piano (duo)
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2 for Euphonium & Piano
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jmsgu3
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SheetMusicPlus
Chants du Rhin for Euphonium and Piano
Euphonium, Piano (duo)
Euphonium,Piano - Level 5 - Digital Download SKU: A0.792530 Composed by Georges Biz…
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Euphonium,Piano - Level 5 - Digital Download SKU: A0.792530 Composed by Georges Bizet. Arranged by Ralph Sauer. 20th Century,Classical,Romantic Period. Score and part. 52 pages. Gordon Cherry #5008345. Published by Gordon Cherry (A0.792530). The Chants du Rhin (Songs of the Rhine), a cycle of six pieces, based on poems by Joseph Méry, were written in 1865, and Bizet performed two of them on 16 April 1866 at a soirée of the Beaujolais Philharmonic Society. The songs are grouped symmetrically around La bohémienne as the central piece, framed by two meditatively yearning pieces (in E and D flat major) and two vividly exuberant ones (similarly in E and D flat major), with L’aurore serving as an introduction. In this cycle Bizet takes up the theme of the gypsy girl which had already entered European music in the operas The Bohemian Girl by the Irish composer Michael William Balfe and Verdi’s Il trovatore, as well as in Franz Liszt’s Hungarian Rhapsodies for piano. Bizet will return to it one year later in La jolie fille de Perth and ten years later in Carmen. The fourth piece Les confidences shows similarities in tonality, structure and motifs to the middle part of the third movement of Chopin’s Sonata in B minor. This version includes parts in B-flat treble clef as well as bass clef.
$22.50
20.49 €
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Euphonium, Piano (duo)
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Georges Bizet
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Ralph Sauer
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Chants du Rhin for Euphonium and Piano
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Gordon Cherry
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SheetMusicPlus
I Saw Three Ships for Euphonium or Baritone
Euphonium, Piano (duo)
Euphonium,Piano - Level 3 - Digital Download SKU: A0.967671 Composed by Traditional…
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Euphonium,Piano - Level 3 - Digital Download SKU: A0.967671 Composed by Traditional. Arranged by Lawrence H. Underwood. Christian,Christmas,Contemporary,Sacred. Score and part. 8 pages. Lawrence H Underwood #6189263. Published by Lawrence H Underwood (A0.967671). Arranged by veteran instrumental educator and performer, Lawrence Underwood, as the fourth installment in his A Christmas Portfolio series, this brand new setting of I Saw Three Ships is as much fun to play as it is to hear! The arrangement opens with a jaunty, nautical 6/8 feel before entering a lyrical section. The piece then shifts gears momentarily, heading into a 4/4 march feel before evoking a feel of the highlands as we return to 6/8, building in intensity until its dramatic conclusion. Suitable for use in church or as a showpiece in any holiday setting, this piece is sure to be an audience and performer favorite!
$5.99
5.45 €
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Euphonium, Piano (duo)
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Traditional
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Lawrence H
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I Saw Three Ships for Euphonium or Baritone
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Lawrence H Underwood
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SheetMusicPlus
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