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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
Believe It
Non classifié
280
Piano & claviers
Piano seul
157
Piano, Voix et Guitare
101
Piano, Voix
63
Piano Facile
48
Instruments en Do
19
Accompagnement Piano
18
Piano Trio: piano, violon, violoncelle
5
Orgue
4
Piano Quatuor: piano, 2 violons, violoncelle
3
Piano Quatuor: piano, violon, alto, violoncelle
3
2 Pianos, 4 mains
2
Accordéon
2
Piano grosses notes
2
Piano (partie séparée)
1
1 Piano, 4 mains
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 11 instrumentations
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Guitares
Guitare
28
Guitare notes et tablatures
18
Ligne De Mélodie, (Paroles) et Accords
15
Ukulele
9
2 Guitares (duo)
5
Basse electrique
3
Guitare (partie séparée)
2
Paroles et Accords
2
Mandoline, Guitare (duo)
1
Ensemble de Ukulélés
1
Banjo
1
Dulcimer
1
+ 7 instrumentations
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Voix
Chorale SATB
113
Chorale 3 parties
27
Chorale TTBB
25
Chorale 2 parties
13
Chorale Unison
13
Chorale SSAA
10
Voix duo
3
Chorale
2
Voix Soprano, Piano
2
Voix duo, Piano
2
Chorale SSATTB
2
Voix Alto, Piano
1
Voix seule
1
+ 8 instrumentations
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Vents
Quatuor de Saxophones: 4 saxophones
30
2 Flûtes traversières (duo)
17
Flûte traversière et Piano
14
Hautbois (partie séparée)
13
Flûte, Hautbois, Clarinette, Basson
12
Clarinette et Piano
12
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
12
Clarinette
12
2 Saxophones (duo)
9
Saxophone Alto et Piano
9
Saxophone (partie séparée)
7
Quatuor de Clarinettes: 4 clarinettes
7
2 Clarinettes (duo)
7
Flûte traversière
7
Hautbois, Piano (duo)
6
Quintette de Saxophone: 5 saxophones
6
Quatuor de Flûtes : 4 flûtes
6
Saxophone Tenor et Piano
5
Quintette de Clarinettes: 5 clarinettes
5
Saxophone Alto
5
Saxophone Soprano et Piano
5
Flûte, Clarinette (duo)
5
Flûte et Guitare
4
Saxophone, Clarinette (duo)
3
Saxophone Baryton, Piano
3
Clarinette (partie séparée)
3
Trio de Flûtes: 3 flûtes
3
Hautbois
2
Clarinette, Guitare (duo)
2
2 Hautbois (duo)
2
Flûte, Trompette (duo)
1
Flûte, Clarinette, Piano (trio)
1
Flûte à bec Soprano
1
Hautbois, Flûte
1
Hautbois, Basson (duo)
1
Clarinette et Alto
1
3 Saxophones (trio)
1
Ensemble De Flûte à bec
1
Cor anglais, Guitare (duo)
1
Hautbois, Clarinette (duo)
1
Flute (partie séparée)
1
Cor anglais, Piano
1
Flûte, Alto (duo)
1
2 Saxophones, Piano
1
Saxophone Tenor
1
Clarinette, Violon (duo)
1
3 Clarinettes (trio)
1
Saxophone
1
Clarinette Basse, Piano
1
Flûte, Violon
1
Flûte à Bec
1
Flûte, Saxophone (duo)
1
+ 47 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
33
Quatuor de Cuivres : 2 trompettes, trombone, tuba
13
Trompette
10
Trombone (partie séparée)
8
Trombone et Piano
7
2 Trompettes (duo)
6
Cor et Piano
5
Trompette, Trombone (duo)
5
Trompette (partie séparée)
5
Trompette, Piano
5
Tuba et Piano
5
Cor
4
Trio de Cuivres
4
2 Euphoniums et 2 Tubas
3
Trompette, Cor (duo)
3
Quatuor de Cuivres
3
2 Trombones (duo)
3
Tuba
3
4 Tubas
2
Trompette, Saxophone (duo)
2
Trombone
2
Cor anglais, Guitare (duo)
1
Cor anglais, Piano
1
2 Cors (duo)
1
Bass Clef Instruments
1
Cor (partie séparée)
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Quatuor de cuivres: 4 trombones
1
2 Tubas (duo)
1
Tuba (partie séparée)
1
+ 25 instrumentations
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Cordes
Harpe
55
Quatuor à cordes: 2 violons, alto, violoncelle
40
Violon et Piano
23
2 Violons (duo)
14
Violon
14
Violon, Violoncelle (duo)
13
Violoncelle, Piano
10
Violoncelle
9
Alto, Piano
9
Violon, Alto (duo)
6
Trio à Cordes: violon, alto, violoncelle
5
Alto seul
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Piano Trio: Violon, Alto, Piano
4
Violon (partie séparée)
3
2 Violoncelles (duo)
3
2 Altos (duo)
2
Contre Basse
2
Alto, Guitare (duo)
2
Alto (partie séparée)
2
Contrebasse, Piano (duo)
2
Contrebasse (partie séparée)
2
Violon, Guitare (duo)
1
Harpe, Violon (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
Harpe, Voix
1
Violoncelle , Guitare (duo)
1
+ 22 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
99
Orchestre
33
Ensemble Jazz
13
Orchestre à Cordes
10
Orchestre de chambre
8
Ensemble de cuivres
8
Jazz combo
7
Cloches
6
Percussion (partie séparée)
3
Fanfare
2
Marimba
1
Batterie
1
Ensemble de Percussions
1
Batterie (partie séparée)
1
+ 9 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
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Vous avez sélectionné:
Believe It
Saxophone Alto et Piano
Partitions à imprimer
9 partitions trouvées
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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
Daydream Believer
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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The Monkees
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Andrew Will
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Daydream Believer
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Andrew Will
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SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.1383249 By The Monkees. By John Stewart. Arranged by Andrew Will. 20th Century,Film/TV,Pop. Score and part. 6 p...
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Alto Saxophone,Piano - Level 3 - SKU: A0.1383249 By The Monkees. By John Stewart. Arranged by Andrew Will. 20th Century,Film/TV,Pop. Score and part. 6 pages. Andrew Will #967678. Published by Andrew Will (A0.1383249). Daydream Believer made famous by the Monkees has been arranged for solo alto saxophone with piano accompaniment. Also available for solo flute, alto clarinet, tenor saxophone, trumpet and trombone. An intermediate solo that your students would love playing. It will bring back memories to some of your audience as well. Enjoy! The Willscore Publishing Team.
$4.99
O Holy Night for Alto Sax & Piano
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Saxophone Alto et Piano
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DÉBUTANT
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Noël
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Adam
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James M
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piano
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O Holy Night for Alto Sax &
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Piano - Level 1 - SKU: A0.548668 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 10 pages. Jm...
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Alto Saxophone,Piano - Level 1 - SKU: A0.548668 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 10 pages. Jmsgu3 #3410421. Published by jmsgu3 (A0.548668). O Holy Night arranged for alto sax & piano. Duration: 4:56, 44 ms. Score: 5 pg Part: 2 pg, piano part: 3 pg.Cantique de Noël The French composer Adolphe Adam was already famous as a composer of many successful ballets and operas. Then, in the 1840’s he wrote his most famous work - O Holy Night. The original song title was Minuit Chretiens or Cantique de Noël. Placide Cappeau provided the original song lyrics. The song was first performed in Roquemaure by the opera singer Emily Laurey at midnight mass in 1847. It became very popular among the French, much the way that Silent Night was famous elsewhere. In the 1850’s John S. Dwight, a Unitarian minister and music teacher translated the song into English. Adolphe Adam In his younger years, Adam studied organ and composition at the Paris Conservatoire. He also played the timpani in the Conservatoire orchestra. Adam used his savings and borrowed money to open a new opera house - the fourth opera house in Paris in 1847. Unfortunately, the Revolution of 1848 forced him to close. He taught composition at the Paris Conservatoire from 1849 until his death in 1856. Placide Cappeau The poet Cappeau was an advocate of the French Enlightenment philosopher Voltaire. Voltaire was renowned for criticizing the Catholic church, religious intolerance, and dogma in general. Consequently, Cappeau made the Redeemer figure in his song a kind of reformer of injustices, in particular, the problem of original sin. To begin with, people recognized Cappeau’s theology as eccentric, probably even doubtful. Theology In the earlier form of Minuit, the Christ figure descends to intervene with His Father’s plan to punish mankind. Traditional doctrine pronounces that Christ came from love, not to intervene. This version also declares that Christ appeared to expunge the original sin of Adam. Cappeau removed this part from him poem years later, because he just didn’t believe it. He preferred to portray Christ as the reformer of disparity and unfairness. Before long, the writer/politician Alphonse de Lamartine referred to the Minuit as the the Marseillaise of religion. Most French churchmen agreed with this idea but certainly did not consider it a tribute. Register for free lifetime updates and revisions at www.jamesguthrie.com
$24.95
O Come All Ye Faithful for Alto Sax & Piano
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Saxophone Alto et Piano
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DÉBUTANT
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Wade
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James M
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O Come All Ye Faithful for Alt
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Piano - Level 1 - SKU: A0.548508 Composed by Wade. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 4 pages. Jms...
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Alto Saxophone,Piano - Level 1 - SKU: A0.548508 Composed by Wade. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 4 pages. Jmsgu3 #3388099. Published by jmsgu3 (A0.548508). O Come All Ye Faithful arranged with new harmony for the final verse. Score: 3 pages. Part: 1 pageO Come, All Ye Faithful O Come, All Ye Faithful is an English translation of the Latin Christmas carol Adeste Fideles. No one knows exactly who wrote it, but one theory is that it was originally composed by King John IV of Portugal (1604–1656) and revised by John F. Wade and John Reading. Nowadays, we usually attribute it to John Wade. The oldest manuscript from 1751, is owned by Stonyhurst College in Lancashire. Lyrics The English translation O Come, All Ye Faithful was certainly written by Frederick Oakeley, a Catholic priest in 1841. This translation is the most common in English speaking states. To begin with, the hymn had only four verses. Later, the verses grew to eight. Often, various verses are omitted because otherwise, the song is just too long. Some believe the first Latin lyrics were written by St. Bonaventure (13th century) or King John IV of Portugal in the 17th. Though others think it was written by the Cistercian monks. King John IV King John IV of Portugal was called The Musician King. He became king in 1640. In addition to performing the duties of a king, he was also a composer and music journalist. King John built a very large music library. Unfortunately, the library was ruined in 1755 because of the massive earthquake of Lisbon. In addition to his library, the king started a Music School that produced many accomplished musicians. The king also worked diligently to get instrumental music approved by the Vatican for use in his churches. Aside from his authorship of Adeste Fideles, he is famous for another popular choral setting of the Crux Fidelis, a prevalent Lenten hymn. Performance in Context As mentioned above, verses are sometimes left out because all eight verses would take too long to perform. More to the point though, some of the verses may be unsuitable for whatever of the church calendar they are intended. The eighth verse deals with the Epiphany, so it makes sense to sing this on Epiphany Sunday, but not other Sundays. Similarly, other verses are used according to whether the event is Midnight Mass or regular daytime Mass.
$24.95
Fauré: Élégie Op. 24 for Alto Sax & Piano
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Saxophone Alto et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Gabriel Faure
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James M
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Fauré: Élé
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jmsgu3
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SheetMusicPlus
Alto Saxophone,Piano - Level 4 - SKU: A0.549727 Composed by Gabriel Faure. Arranged by James M. Guthrie, ASCAP. Contemporary,Multicultural,Romantic Peri...
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Alto Saxophone,Piano - Level 4 - SKU: A0.549727 Composed by Gabriel Faure. Arranged by James M. Guthrie, ASCAP. Contemporary,Multicultural,Romantic Period,Standards,World. Score and part. 22 pages. Jmsgu3 #3531403. Published by jmsgu3 (A0.549727). Duration: ca. 7:00, Score: 12 pages, solo part: 2 pages, piano: 7 pages. An epic choice for a recital or funeral. Fauré Background: In the first place, Gabriel Fauré 1845 –1924) was a famous French composer, musician, and educator. Furthermore, his musical ideas influenced numerous 20th-century composers. Therefore, historians regard him as one of the leading French composers of his time. Famous Works: Among his most famous compositions, by and large, are the Pavane, Elegie (op. 24), Requiem, Sicilienne, Nocturnes for piano and the songs Après un rêve and Clair de lune. Inasmuch as his early works are well-known and relatively easy to perform, Faure’s music seems to have become gradually more difficult during his later life. In other words, his later works are somewhat esoteric and complex. Early Home Life: Fauré was in fact born into a well-cultivated family. His aptitude for music became particularly clear early on - when he was still a boy. Under these circumstances, his parents sent him to a music institution in Paris. Consequently, the training he received there prepared him for a career as a church organist and choirmaster. Middle Life: It is important to realize that Fauré studied music composition with the French musical mastermind Camille Saint-Saëns, who became his lifelong friend. Fauré eventually graduated from college and earned a living as an organist and educator. During this period, he had, on the whole, little time to compose. He consequently became more successful in his middle age, becoming organist of the Église de la Madeleine and director of the Paris Conservatoire. However, he still needed time on balance for composing. Therefore, given these points, he withdrew to the countryside during the summer to focus on composing. Later Life: Fauré was, in the final analysis, recognized in France as the foremost French composer of his time. The French government held a national musical tribute particularly for him in Paris. The French President notably headed the ceremony. Elsewhere, on the contrary, Fauré's music was slow to become accepted, except of course, in England. Legacy: Historians often describe Fauré's music in general as a transition between the end of Romanticism and the beginning of modernism. As an illustration, when Fauré was born, Chopin was still composing. However, by the time of Fauré's death, jazz and atonal music, in particular, had come to fruition. Fauré, by all means, suffered from increasing deafness in his later years. Some musicologists believe this to be indeed the cause of the esoteric nature of Faure’s final works.
$32.95
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
Etude Op. 10, No. 3 for Alto Saxophone and Piano
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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Classique
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Frederic Chopin
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Diego Marani
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Etude Op. 10, No. 3 for Alto S
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Diego Marani
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SheetMusicPlus
Instrumental Duet,Piano Alto Saxophone,Piano - Level 3 - SKU: A0.540342 Composed by Frederic Chopin. Arranged by Diego Marani. Classical,Romantic Period...
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Instrumental Duet,Piano Alto Saxophone,Piano - Level 3 - SKU: A0.540342 Composed by Frederic Chopin. Arranged by Diego Marani. Classical,Romantic Period,Wedding. Score and part. 5 pages. Diego Marani #150489. Published by Diego Marani (A0.540342). Étude Op. 10, No. 3 is a study for solo piano composed by Frédéric Chopin in 1832. This is a slow cantabile study for polyphonic and expressive legato playing. In fact, Chopin himself believed the melody of the piece to be the most beautiful one he ever composed. It became famous through numerous popular arrangements. Although this étude is sometimes identified by the names Tristesse (Sadness) or Farewell (L'Adieu), neither is a name given by Chopin, but rather his critics. This arrangement for alto saxophone with piano accompaniment reflects faithfully the original and is suitable for classroom, repertoire and recital.
$8.99
Prelude in B minor-Alto Saxophone Solo With Piano Accompaniment (Audio Only)
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Saxophone Alto et Piano
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Classique
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Frederic Chopin
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John May
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Prelude in B minor-Alto Saxoph
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Lost Key Music
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SheetMusicPlus
Alto Saxophone,Piano - SKU: A0.1068447 Composed by Frederic Chopin. Arranged by John May. Contemporary,Multicultural,Romantic Period,Standards,World. Ac...
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Alto Saxophone,Piano - SKU: A0.1068447 Composed by Frederic Chopin. Arranged by John May. Contemporary,Multicultural,Romantic Period,Standards,World. Accompaniment. Duration 104. Lost Key Music #6086669. Published by Lost Key Music (A0.1068447). On the Texas Prescribed Music ListPrelude in B minor is from Frederic Chopin's 24 Preludes, which covers all major and minor keys. It is believed that this prelude, along with others, were played at his funeral. Nicknames given to this prelude after Chopin's death include Homesickness and Tolling Bells..
$1.99
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