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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
Method
Non classifié
996
Piano & claviers
Piano seul
1 524
Piano Facile
544
Piano, Voix et Guitare
72
Piano, Voix
44
Orgue
40
Accordéon
37
1 Piano, 4 mains
31
2 Pianos, 4 mains
14
Instruments en Do
13
1 Piano, 6 mains
6
Piano Trio: piano, violon, violoncelle
3
Clavier
2
Accompagnement Piano
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Concertina
2
Ensemble d'Accordéons
1
Piano grosses notes
1
Orgue, Piano (duo)
1
Clavecin
1
+ 14 instrumentations
Retracter
Guitares
Guitare
365
Basse electrique
315
Guitare notes et tablatures
174
Mandoline
22
Ukulele
21
Banjo
16
Piano, Guitare (duo)
7
Dulcimer
7
Guitare Pedal Steel
4
Ligne De Mélodie, (Paroles) et Accords
3
2 Guitares (duo)
2
3 Guitares (trio)
2
Ukulele Baryton
1
2 Ukuleles
1
2 Mandolines (duo)
1
4 Guitares (Quatuor)
1
+ 11 instrumentations
Retracter
Voix
Chorale SATB
62
Voix seule
18
Chorale 3 parties
13
Chorale 2 parties
12
Chorale TTBB
9
Chorale Unison
7
Voix duo
6
Voix Tenor, Piano
1
+ 3 instrumentations
Retracter
Vents
Hautbois
61
Quatuor de Clarinettes: 4 clarinettes
54
Clarinette
41
Flûte traversière
39
Quatuor de Saxophones: 4 saxophones
24
Flûte traversière et Piano
19
Flûte irlandaise
17
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
16
Flûte à bec Soprano
14
Quintette de Saxophone: 5 saxophones
13
3 Saxophones (trio)
13
Flûte, Hautbois, Clarinette, Basson
12
Clarinette et Piano
12
Harmonica
12
2 Saxophones (duo)
11
Saxophone Tenor et Piano
10
Saxophone
9
Saxophone Alto et Piano
9
2 Flûte à bec (duo)
8
2 Clarinettes (duo)
8
2 Flûtes traversières (duo)
8
Saxophone Soprano et Piano
7
Flûte à bec Alto
6
Hautbois (partie séparée)
6
Trio de Flûtes: 3 flûtes
6
Flûte à Bec
6
Quatuor de Flûtes : 4 flûtes
5
Quintette de Flûte : 5 flûtes
4
Flûte, Clarinette (duo)
4
Hautbois, Piano (duo)
4
Saxophone Tenor
4
Flûte à bec Soprano, Basse continue
3
Saxophone Alto
3
Saxophone Baryton, Piano
3
Ensemble de Hautbois
2
Quatuor de Flûtes à bec
2
Flûte de Pan
2
Clarinette, Basson (duo)
2
Quintette de Clarinettes: 5 clarinettes
2
Clarinette Basse
2
2 Hautbois (duo)
2
Cor anglais, Piano
2
Flûte, Hautbois, Clarinette (trio)
2
Saxophone (partie séparée)
2
Instruments en Mib
2
Ensemble De Flûte à bec
2
3 Flûtes à bec (trio)
2
Flûte à bec Soprano, Piano
1
Flûte et Guitare
1
4 Hautbois
1
Flûte et Trio à cordes
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
3 Clarinettes (trio)
1
Flûte à bec Alto, Piano
1
Flûte traversière, Basse continue
1
Flûte, Violon, Piano
1
Flûte à bec Tenor
1
Ocarina
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
+ 54 instrumentations
Retracter
Cuivres
Trompette
72
Trombone
51
2 Cors (duo)
46
Tuba
16
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
15
Cor
9
Trompette, Piano
7
Trombone et Piano
7
2 Trompettes (duo)
5
Bass Clef Instruments
5
Trompette, Cor (duo)
5
2 Trombones (duo)
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Trompette, Trombone (duo)
3
Euphonium
3
Cor et Piano
3
Trompette, violon (duo)
3
Quatuor de Cuivres
3
3 Cors (trio)
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
2 Tubas (duo)
2
Quatuor de cuivres: 4 trombones
2
Instruments en Sib
2
Euphonium, Tuba (duo)
2
Ensemble de Cors
2
Trombone basse
2
Cor anglais, Piano
2
3 Tubas (trio)
2
3 Trombones (trio)
2
Cornet A Pistons
1
Quatuor de cuivres: 4 cors
1
Trio de Cuivres
1
Quatuor de cuivres: 4 trompettes
1
Tuba et Piano
1
Tuba et Orgue
1
Ensemble de Trombones
1
+ 31 instrumentations
Retracter
Cordes
Violon
111
Harpe
63
Violoncelle
55
Violon et Piano
48
Alto seul
39
Quatuor à cordes: 2 violons, alto, violoncelle
37
Trio à cordes: 3 violins
24
2 Violons (duo)
19
Violon (partie séparée)
15
Alto, Piano
12
Contre Basse
12
Trio à Cordes: violon, alto, violoncelle
11
Violon, Alto (duo)
11
2 Violoncelles (duo)
11
Violoncelle, Piano
10
Violon, Violoncelle (duo)
9
Harpe et Piano
6
2 Altos (duo)
5
Autoharp
5
Violoncelle, Contrebasse (duo)
4
Alto (partie séparée)
4
Trio à Cordes: 3 violoncelles
3
Violon, Guitare (duo)
3
4 Violoncelles
3
Alto, Violoncelle (duo)
3
Violoncelle, Orchestre
2
Trio à cordes: 3 altos
2
Harpe, Voix
2
Contrebasse, Piano (duo)
2
Quatuor à cordes: 4 violons
1
Quatuor à cordes : 4 altos
1
Trio à Cordes: 2 violons, violoncelle
1
Violoncelle (partie séparée)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Harpe et mandoline
1
2 Contrebasses (duo)
1
Piano Trio: Violon, Alto, Piano
1
+ 32 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
190
Orchestre à Cordes
52
Batterie
47
Orchestre
30
Cloches
22
Orchestre de chambre
9
Percussion
6
Caisse Claire
5
Vibraphone
4
Ensemble Jazz
4
2 Xylophones
4
Conga
4
Fanfare
4
Marimba
3
Ensemble de cuivres
3
Jazz combo
2
Ensemble d'École
2
Orchestre, Violon
2
Cajon
2
Bodhran
1
Piano et Orchestre
1
Xylophone
1
Bongos
1
Ensemble de Percussions
1
Instrumentation Flexible
1
Timbales
1
+ 21 instrumentations
Retracter
Autres
Formation musicale - Solfège
32
Théorie de la musique
27
Papeterie
3
Instruments
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FLUTE A DIX…
FLUTE DE PA…
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TRI ET FILTRES
TRI ET FILTRES
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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 …
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ENFANTS : EVEIL - IN…
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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
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Saxophone Alto et Piano
Partitions à imprimer
9 partitions trouvées
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1
Mendelssohn: Wedding March for Alto Sax & Piano
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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Classique
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Felix Bartholdy Mendelssohn
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James M
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Mendelssohn: Wedding March for
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.549892 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,...
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Alto Saxophone,Piano - Level 3 - SKU: A0.549892 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. Score and part. 23 pages. Jmsgu3 #3603399. Published by jmsgu3 (A0.549892). Score: 12 pages, piano part: 6 pages, alto sax part: 4 pages. duration: ca. 5'. This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra then arranged for organ and performed by Mendelssohn himself.Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuos.
$32.95
Monti Czardas Alto Saxophone
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Saxophone Alto et Piano
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INTERMÉDIAIRE/AVANCÉ
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Glenn Martin
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Glenn Martin
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Monti Czardas Alto Saxophone
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Cornelius edition
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SheetMusicPlus
Alto Saxophone,Piano - Level 4 - SKU: A0.809188 By Glenn Martin. By Glenn Martin. Arranged by Glenn Martin. 20th Century,Instructional,Standards. Score ...
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Alto Saxophone,Piano - Level 4 - SKU: A0.809188 By Glenn Martin. By Glenn Martin. Arranged by Glenn Martin. 20th Century,Instructional,Standards. Score and part. 11 pages. Cornelius edition #6304773. Published by Cornelius edition (A0.809188). Czardas composed in 1904 by Italian violinist and composer Vittorio Monti has become one of the most well know encores for the violin virtuoso to perform. Monti wrote many pieces for the violin and also a method for mandolin. This arrangement of Czardas for alto saxophone and piano will suit the aspiring and technically adventurous alto saxophone performer and with a performance time of approximately four and a half minutes the arrangement would make a useful final piece or encore for a concert or recital.  .
$7.75
Arioso by Bach for Alto Sax and Piano
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Saxophone Alto et Piano
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DÉBUTANT
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Classique
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Johann Sebastian Bach
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Ander
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Arioso by Bach for Alto Sax an
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Woods Only, Arrangements
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SheetMusicPlus
Alto Saxophone,Piano - Level 1 - SKU: A0.1047133 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Easter,Sacred,Traditional,Wedding. Score ...
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Alto Saxophone,Piano - Level 1 - SKU: A0.1047133 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Easter,Sacred,Traditional,Wedding. Score and part. 4 pages. Woods Only, Arrangements #651662. Published by Woods Only, Arrangements (A0.1047133). This easy arrangement for alto sax and piano was adapted to be simple to perform and understand the structure of the original work for various levels of musical knowledge. It can be played freely by beginning students due to the ease imposed on the piece; however, this does not preclude it from being played by professionals and music teachers. It is also ideal for academic recitals, weddings, student method and ceremonies that are arranged in the same way as the piece contains. The Cantata 156 (BWV 156) was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. The text is by Picander, one of Bach's favorite librettists. of the four cantatas written by Bach for the feast, it was the last and only one scored for solo voice. This is a choral cantata, employing a choral melody in several movements. Cantata 156, in fact, employs two different choral melodies and texts in the second and sixth movements. A cantata is a sung symphony consisting of several parts, one of which is the Arioso, which is the initial instrumental part.
$1.99
Air on the G String by Bach for Alto Sax and Piano
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Saxophone Alto et Piano
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DÉBUTANT
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Classique
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Johann Sebastian Bach
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Ander
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Air on the G String by Bach fo
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Woods Only, Arrangements
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SheetMusicPlus
Alto Saxophone,Piano - Level 1 - SKU: A0.1045601 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Easter,Traditional,Wedding. Score and par...
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Alto Saxophone,Piano - Level 1 - SKU: A0.1045601 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Easter,Traditional,Wedding. Score and part. 4 pages. Woods Only, Arrangements #650180. Published by Woods Only, Arrangements (A0.1045601). This easy arrangement for alto sax and piano was written to be uncomplicated to perform and understand the structure of the piece. It can be freely played by beginning students, because of the ease imposed on the piece; however, this does not prevent it from being played by professionals and music teachers. It is also ideal for academic recitals, student method and ceremonies that are arranged in the same way as the piece contains. The original piece is part of Johann Sebastian Bach's Suite No. 3 for orchestra, in D Major, BWV 1068, written for Prince Leopold of Anhalt. The so-called Air on the G String dates from one of these latter employments. In the service of the Prince of Cöthen, Bach composed not only the famous Brandenburg Concertos, but also several orchestral suites, from the third of which comes the Air on the G String. This curious title derives from a later arrangement of this piece for violin solo, in which the melody is played entirely on the lower, higher string of the instrument.
$1.99
Alto Sax - "And Can It Be?" Theme and Variations
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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Musique Sacrée
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Lyrics: Charles Wesley, Music:
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Dan Cutchen
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Alto Sax - "And Can It Be
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Dan Cutchen Music
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SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged...
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Alto Saxophone,Piano - Level 3 - SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Easter,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #3115903. Published by Dan Cutchen Music (A0.844328). This arrangement of And Can It Be That I Should Gain? is for alto saxophone solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Alto Sax - And Can It Be? Theme and Variations-Accompaniment Track, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year. This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/BSX9yYcNY2E
$7.00
Once To Every Soul And Nation (Alto Saxophone and Piano)
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Saxophone Alto et Piano
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FACILE
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Musique Sacrée
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Thomas J
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Stephen DeCesare
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Once To Every Soul And Nation
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Exultet Music
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SheetMusicPlus
Alto Saxophone,Piano - Level 2 - SKU: A0.628988 Composed by Thomas J. Williams. Arranged by Stephen DeCesare. Christian,Easter,Praise & Worship,Sacred. ...
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Alto Saxophone,Piano - Level 2 - SKU: A0.628988 Composed by Thomas J. Williams. Arranged by Stephen DeCesare. Christian,Easter,Praise & Worship,Sacred. Score and part. 14 pages. Exultet Music #6253223. Published by Exultet Music (A0.628988). This hymn text, written by James Russell Lowell (1819-1891), which was written as a protest against the Mexican War, and has been a staple in Methodist hymnals, has now been freshly arranged for an Alto Saxophone solo with Piano accompaniment. Accessible and appropriate for any church or concert setting. An accompaniment track is also available.
$4.99
Come, Let Us Use The Grace Divine (Alto Saxophone and Piano)
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Saxophone Alto et Piano
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FACILE
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Musique Sacrée
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Traditional
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Stephen DeCesare
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Come, Let Us Use The Grace Div
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Exultet Music
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SheetMusicPlus
Alto Saxophone,Piano - Level 2 - SKU: A0.629608 Composed by Traditional. Arranged by Stephen DeCesare. Christian,Praise & Worship,Sacred. Score and part...
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Alto Saxophone,Piano - Level 2 - SKU: A0.629608 Composed by Traditional. Arranged by Stephen DeCesare. Christian,Praise & Worship,Sacred. Score and part. 11 pages. Exultet Music #6356185. Published by Exultet Music (A0.629608). One of the staple hymns in the Methodist hymnal has now been freshly arranged for an Alto Saxophone solo with Piano accompaniment. Accessible and appropriate for any church or concert setting. Can be used anytime throughout the liturgical year but especially in times of renewal. An accompaniment track is also available.
$4.99
Korsakov: Flight of the Bumblebee for Alto Sax & Piano
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Saxophone Alto et Piano
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AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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James M
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Korsakov: Flight of the Bumble
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Piano - Level 5 - SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Roma...
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Alto Saxophone,Piano - Level 5 - SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473685. Published by jmsgu3 (A0.549254). Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Of course, Korsakov intended to portray a bumblebee's chaotic flying pattern musically. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears occasionally in popular culture. The piece appears notably in the opera at the close of Act III, Tableau 1. This is when the magic Swan-Bird changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive. Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions- Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite- are essential monuments of the standard music repertoire. Also comparatively very important are his suites and excerpts from his 15 operas. Korsakov used Russian folklore and fairy tales, such as Scheherazade, in his music. Nationalistic Style Like fellow outspoken composer Balakirev, Korsakov believed in creating a nationalistic, Russia-centric style of classical music. The new style was called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic, and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education. He mastered Western methods, incorporating them with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which heightened his orchestration capabilities. Legacy In due time, Korsakov contributed a significant number of Russian nationalist works. He also prepared, occasionally, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers as a music educator. Therefore, music historians consider Korsakov the foremost engineer of what the public considers the Russian composition style. He served as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95
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