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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
3 Conversations
Non classifié
132
Piano & claviers
Piano seul
45
Orgue
13
Instruments en Do
7
Piano, Voix
7
Piano, Voix et Guitare
6
Piano Facile
4
Piano Trio: piano, violon, violoncelle
3
2 Pianos, 4 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano Quatuor: piano, violon, alto, violoncelle
1
1 Piano, 4 mains
1
+ 6 instrumentations
Retracter
Guitares
Guitare notes et tablatures
3
Guitare
3
Ukulele
2
Voix
Chorale SATB
28
Chorale 3 parties
11
Chorale SSAA
5
Voix duo
3
Chorale TTBB
3
Voix duo, Piano
1
Chorale Unison
1
+ 2 instrumentations
Retracter
Vents
2 Saxophones (duo)
15
2 Flûtes traversières (duo)
10
Hautbois, Basson (duo)
6
Saxophone Alto et Piano
6
Saxophone Soprano et Piano
5
Flûte, Clarinette (duo)
4
Hautbois, Piano (duo)
4
Flûte traversière et Piano
4
Saxophone, Clarinette (duo)
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
Clarinette et Piano
3
3 Saxophones (trio)
3
2 Clarinettes (duo)
3
Clarinette, Violon (duo)
2
Flûte traversière
2
Clarinette et Alto
2
Flûte, Violon
2
Quatuor de Saxophones: 4 saxophones
2
Ensemble de Clarinettes
2
Quatuor de Flûtes : 4 flûtes
2
Flûte et Guitare
2
Flûte, Hautbois, Clarinette, Basson
2
3 Clarinettes (trio)
2
Trio de Flûtes: 3 flûtes
2
Clarinette, Trompette (duo)
2
Ensemble de Flûtes
2
Flûte, Violoncelle
2
Flûte, Alto (duo)
2
Quatuor de Clarinettes: 4 clarinettes
2
2 Hautbois (duo)
2
Hautbois, Flûte
1
Flûte, Saxophone (duo)
1
Clarinette Basse, Piano
1
Saxophone Tenor et Piano
1
Hautbois, Clarinette (duo)
1
Quintette de Saxophone: 5 saxophones
1
Clarinette, Basson (duo)
1
Clarinette, Violoncelle (duo)
1
Flûte, Trompette (duo)
1
Saxophone Tenor
1
Clarinette Basse
1
Flûte à Bec
1
Hautbois (partie séparée)
1
Clarinette
1
Cor anglais, Piano
1
Saxophone Baryton, Piano
1
Flûte, Hautbois (duo)
1
+ 42 instrumentations
Retracter
Cuivres
2 Trompettes (duo)
3
Trompette
3
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
3
Cor et Piano
2
Trompette, Saxophone (duo)
2
Trompette, Basson (duo)
2
Trombone et Piano
2
2 Trombones (duo)
1
Cor, Violoncelle (duo)
1
Trompette, Piano
1
Cor et Basson (duo)
1
Tuba
1
Trombone
1
Euphonium, Piano (duo)
1
Trompette, Trombone (duo)
1
Quatuor de cuivres: 4 cors
1
Cor anglais, Piano
1
Ensemble de Trompettes
1
+ 13 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
20
Harpe
10
Violon, Violoncelle (duo)
7
Alto, Piano
6
Violoncelle, Piano
5
Violon et Piano
4
Trio à Cordes: violon, alto, violoncelle
3
Alto et Basson
2
Violoncelle
2
2 Violons (duo)
2
2 Altos (duo)
2
2 Violoncelles (duo)
2
Flûte, Contrebasse (duo)
2
Violon, Alto (duo)
2
Alto, Violoncelle (duo)
2
Violon
2
Violon, Basson (duo)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Violoncelle , Guitare (duo)
1
Contrebasse, Piano (duo)
1
Violon, Guitare (duo)
1
Harpe, Flûte (duo)
1
2 Violons, Piano
1
+ 18 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
22
Jazz combo
6
Ensemble de cuivres
4
Ensemble Jazz
4
Orchestre de chambre
3
Cloches
3
Ensemble de Percussions
3
Orchestre
1
Xylophone
1
2 Xylophones
1
Orchestre à Cordes
1
+ 6 instrumentations
Retracter
Autres
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ACCORDEON
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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 -…
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ENFANTS : EVEIL - IN…
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FILM WALT DISNEY
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
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METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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3 Conversations
Saxophone Alto et Piano
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Conversations (for Flute, Eb Alto Saxophone & Piano) composed by Clifton Davis ASCAP
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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Clifton Davis ASCAP
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Conversations
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Clifton Allen Davis Music, ASCAP
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SheetMusicPlus
Instrumental Duet,Piano Alto Saxophone,Flute,Instrumental Duet,Piano - Level 3 - SKU: A0.927281 Composed by Clifton Davis ASCAP. Blues,Concert,Jazz,Stan...
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Instrumental Duet,Piano Alto Saxophone,Flute,Instrumental Duet,Piano - Level 3 - SKU: A0.927281 Composed by Clifton Davis ASCAP. Blues,Concert,Jazz,Standards,Wedding. Score and parts. 20 pages. Clifton Allen Davis Music, ASCAP #5828209. Published by Clifton Allen Davis Music, ASCAP (A0.927281). Enjoy this romp through some classic jazz styles including blues and swing! Accessible yet interesting writing makes this a sight read for collegiate level players or an attainable goal for high school level players. Perfect for receptions, recitals, or sight-reading lessons. 5 minutes and 30 seconds. For alto sax, flute, and piano accompaniment (with each part and full score included in purchase.) Also available for clarinet duet and other permutations of instruments on Sheet Music Press by Clifton Allen Davis Music.A MP3 of the recorded piano accompaniment is available for purchase: http://www.sheetmusicplus.com/title/21814918
$10.99
Conversations (for Bb Clarinet, Eb Alto Sax & Piano) composed by Clifton Davis
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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Clifton Davis ASCAP
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Conversations
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Clifton Allen Davis Music, ASCAP
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SheetMusicPlus
Instrumental Duet,Piano Alto Saxophone,Clarinet,Instrumental Duet,Piano - Level 3 - SKU: A0.927284 Composed by Clifton Davis ASCAP. Blues,Concert,Jazz,S...
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Instrumental Duet,Piano Alto Saxophone,Clarinet,Instrumental Duet,Piano - Level 3 - SKU: A0.927284 Composed by Clifton Davis ASCAP. Blues,Concert,Jazz,Standards,Wedding. Score and parts. 20 pages. Clifton Allen Davis Music, ASCAP #5866017. Published by Clifton Allen Davis Music, ASCAP (A0.927284). Enjoy this romp through some classic jazz styles including blues and swing! Accessible yet interesting writing makes this a sight read for collegiate level players or an attainable goal for high school level players. Perfect for receptions, recitals, or sight-reading in lessons. About 5 minutes long. For clarinet duet and piano accompaniment (with each part and full score included in purchase.) Also available for clarinet/flute/piano and other permutations of instruments on Sheet Music Press by Clifton Allen Davis Music.An MP3 of the piano accompaniment is available for purchase: http://www.sheetmusicplus.com/title/21814914
$10.99
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
Saint-Saëns: The Swan 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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Camille Saint-Saens
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James M
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Saint-Saëns: The Swan for
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.1314328 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Hi...
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Alto Saxophone,Piano - Level 3 - SKU: A0.1314328 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Historic,Romantic Period. Score and part. 11 pages. Jmsgu3 #903072. Published by jmsgu3 (A0.1314328). Saint-Saëns: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saëns permitted to be performed publicly during his lifetime. This is an excellent recital encore to demonstrate melodic playing and strategic phrasing.The Carnival of the AnimalsThe Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is among the fourteen most famous movements. In its entirety, it lasts about 25 minutes.Saint-Saëns BackgroundCharles-Camille Saint-Saëns 1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, include his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), and, it must be remembered, Carnival of the Animals (1886) to the list.ChildhoodIt is essential to realize that Saint-Saëns was undoubtedly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut, albeit at ten years old. Another critical point to remember is that he expressly studied at the Paris Conservatoire, then, despite reality, conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were, after all, markedly in demand - not only in Europe but, above all, in the Americas all in all as well.YouthA point often overlooked is that in his youth, Saint-Saëns was undoubtedly excited about the modern music of the day. He was, in essence, fond of the music of his contemporaries, particularly Schumann, Liszt, and, for the most part, Wagner. In contrast, however, his compositions seemed, in fact, primarily confined within the conservative classical tradition. Be that as it may, he was, at the same time, nevertheless, a scholar of musical history.CriticismOn the whole, his conservatism, in fact, ultimately brought him into frequent conflict in his later years with composers of the impressionist and, in particular, the dodecaphonic schools of musical thought. A point often overlooked is that he included neoclassical elements in his music, contrary to some critics. Furthermore, in so doing, he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly, as a non-progressive reactionary henceforth around the time of his passing.LegacySaint-Saëns taught briefly in Paris, where his students included Gabriel Fauré. Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
$32.95
Handel: Largo from Xerxes 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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George Frideric Handel
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James M
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Handel: Largo from Xerxes for
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.549383 Composed by George Frideric Handel. Arranged by James M. Guthrie, ASCAP. Baroque,Sacred,Standards,Weddin...
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Alto Saxophone,Piano - Level 3 - SKU: A0.549383 Composed by George Frideric Handel. Arranged by James M. Guthrie, ASCAP. Baroque,Sacred,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3492297. Published by jmsgu3 (A0.549383). Duration: 4:55, Score: 6 pages, Solo part: 1 page, piano part: 2 pages. A very famous aria (Ombra mai fu) from XerxesSuitable for any venue requiring meditative music. Excellent choice for a recital encore. Xerxes Xerxes is, in fact, an opera seria in three acts by Handel. Moreover, Handel conducted the premiere performance in London in 1738. Handel casts the opera in Persia in 470 BC. The part of Xerxes was indeed originally sung by a soprano castrato. Nowadays, the part is generally sung by a mezzo-soprano or conversely a counter-tenor. In the first place, Xerxes sings an opening aria, Ombra mai fu to a plane tree. Handel sets this aria to one of his most truly famous melodies. Although many refer to it traditionally as Handel’s Largo, Handel has, on the contrary, clearly marked Larghetto in the score. Handel Background George Frideric Handel (1685 - 1759) was born in Germany but eventually became a British citizen. Nonetheless, he was a famous Baroque composer. In fact, he became famous for his operas, oratorios, anthems, and organ concertos. Handel studied music and, by and large, worked as a composer in Germany and Italy before moving to London. On the whole, Handel was very familiar with the contemporary music of Italy and Germany. Career in England It is essential to realize that Italian opera was all the rage in England at the time. Moreover, Handel was really good at writing them. Therefore, he started not one but three opera companies in England. Alexander's Feast was a huge success in 1736, but Handel began composing English choral works. After success with the Messiah in 1742) he certainly never again wrote an Italian opera. Consequently, he died in 1759, a treasured genius. Accordingly, the English government gave him full state honors at his funeral. Hence, he is buried in Westminster Abbey in London. Legacy Music historians agree that Handel was in general one of the greatest composers of the Baroque era.  To demonstrate, his works such as the Messiah, Water Music, and Music for the Royal Fireworks remain consistently popular up to the present time. He especially composed the coronation anthem, Zadok the Priest for the coronation of George II. Nevertheless, it has specifically been performed at every succeeding British coronation since. His oratorio Solomon has by all means also continued to be prevalent. As a matter of fact, Sinfonia from act 3 was featured in the 2012 London Olympics opening ceremony. Handel was particularly prolific. To enumerate, he wrote over forty operas.  Since the late 1960s, we have expressly experienced a revival of baroque music. Similarly, we have especially seen a pique of interest in historically informed musical performances. Since his death in 1779, interest in Handel's music has all in all, expanded. Â
$32.95
Ali Ben Sou Alle: Caprice : Souvenir de la Nouvelle-Zélande for alto saxophone and piano
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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Ali Ben Sou Alle
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Paul Wehage
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Ali Ben Sou Alle: Caprice : So
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Musik Fabrik Music Publishing
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SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.533345 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Romantic Period,Standards. Score and part...
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Alto Saxophone,Piano - Level 3 - SKU: A0.533345 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Romantic Period,Standards. Score and part. 10 pages. Musik Fabrik Music Publishing #2348193. Published by Musik Fabrik Music Publishing (A0.533345). Ali Ben Sou Alle was born Jean-Baptiste SOUALLE in 1824 in Arras, France. He first studied the clarinet, winning a first prize in Clarinet in the class of Klosé at the Paris Conservatory. He then entered the Paris Opera orchestra, but left France in 1848 because of the revolution, fleeing to London. In 1850, he met Louis JUILLIEN, another early saxophonist, who encouraged Soualle to take up the saxophone. Soualle made several modifications to the instrument, including changes to the octave mechanism and the other keys for trills and alternative fingerings, many of which are used in modern saxophones.He named his hybrid creation the turcophone and began composing works for the instrument, which included fantasies on operatic themes, character pieces and a series of descriptive works which document several concert tours in Europe, Australia and the Orient which Soualle undertook. Upon his return to France around 1861, after his conversion to Islam, he changed his name to Ali Ben Sou Alle. Under that name, he performe recitals for the Prince of Wales and for the Emperor Napoleon III and his family in 1865. After this date, no trace of his career has currently been uncovered and it is though that he probably died around 1867. This work is .in two large sections, the first in the form of a lyrical aria, the second a lively schezando.
$10.35
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3 Conversations
