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Vous avez sélectionné:
Days Like This
Saxophone Alto et Piano
Partitions à imprimer
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LORD, WHO THROUGHOUT THESE FORTY DAYS - alto saxophone and piano
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.774081 Arranged by Anthon…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.774081 Arranged by Anthony Giamanco. Concert,Contemporary,Easter,Sacred. Score and part. 11 pages. Whole Tone Press #6657909. Published by Whole Tone Press (A0.774081). Expertly arranged for alto saxophone and piano, this work, based on the well-known hymn, ST. FLAVIAN, captures the somber mood of the forty-day journey through the Lenten season. Following the opening march-like fanfare, the familiar melody enters in the sax above the drone in the piano. Then the melody is transferred to the piano (bass clef), transposing it to F Dorian, then, briefly to G Mixolydian. At the key change, the melody returns to its original form, taken up again by the sax. The opening fanfare returns in an abbreviated form in the coda as the piece ends quietly on a Dmaj9 arpeggio. Particularly appropriate for Lenten services, this short work can be played during the prelude, the offering, or as a meditation during communion.Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His music also can be purchased through sheetmusicplus.com, Sheet Music Marketplace, and JW Pepper.Anthony's music can be heard on his website, anthonygiamanco.com,https://www.anthonygiamanco.com,on SoundCloudhttps://soundcloud.com/tony-giamanco,and on his YouTube channel.
$5.25
4.83 €
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Saxophone Alto et Piano
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Anthony Giamanco
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LORD, WHO THROUGHOUT THESE FORTY DAYS - alto saxophone and piano
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Whole Tone Press
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SheetMusicPlus
Schubert: Moment Musicaux for Alto Sax & Piano
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 2 - Digital Download SKU: A0.549015 Composed by Franz …
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Alto Saxophone,Piano - Level 2 - Digital Download SKU: A0.549015 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Holiday,Romantic Period,Sacred,Standards. Score and part. 10 pages. Jmsgu3 #3447439. Published by jmsgu3 (A0.549015). Alto Sax version of Moment Musicaux, Op. 94 (D. 780) No. 3 by Franz Schubert, published in 1828. Duration: 1:53 Score 6 pg. 54 ms. Alto Sax 1 pg. Piano part 3 pg. One of Schubert's most well-known pieces. This is an effective recital encore due to its brevity and range of expression. Could work well for a variety of occasions: wedding receptions, church services (Easter), and anniversaries. It seems like a pleasant dance, unlike some previous dance music. Schubert improvised these dances at parties for his friends.  Although conceived on-the-fly, these dances are the work of a genius. Composers have similarly elevated dance music to artistic status. As a result, they freed it from the original purpose of dancing. Certainly, the older masters used the dance forms as vehicles for complex treatments. Here, however, Schubert retains the dance-like quality while finally expressing his innermost thoughts and emotions. The dance is certainly filled with a doleful expression, yet the texture remains even more light and refined. Therefore, to perform these with sensitivity we probably need to use a light but accurate touch. The accompaniment pattern needs to be crisp and delicate – probably even in the more forceful parts. The piano pedal should also be used very carefully so as a result not to blur the outline. Instead, it should contribute to the dynamic quality of the piece. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$32.95
30.33 €
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Saxophone Alto et Piano
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Franz Schubert
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James M
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Schubert: Moment Musicaux for Alto Sax & Piano
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jmsgu3
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SheetMusicPlus
Korsakov: Flight of the Bumblebee for Alto Sax & Piano
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.549254 Composed by Nikola…
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Alto Saxophone,Piano - Level 5 - Digital Download 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
30.33 €
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Saxophone Alto et Piano
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Nikolay Andreyevich Rimsky-Korsakov
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James M
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Korsakov: Flight of the Bumblebee for Alto Sax & Piano
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jmsgu3
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SheetMusicPlus
Alto Sax - "And Can It Be?" Theme and Variations
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics…
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Alto Saxophone,Piano - Level 3 - Digital Download 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
6.44 €
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Saxophone Alto et Piano
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Dan Cutchen
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Alto Sax - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
Jingle Bells for Alto Sax & Piano
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 1 - Digital Download SKU: A0.548664 Composed by James …
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Alto Saxophone,Piano - Level 1 - Digital Download SKU: A0.548664 Composed by James Pierpont. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 9 pages. Jmsgu3 #3408939. Published by jmsgu3 (A0.548664). Jingle Bells arranged for alto sax & piano. Jingle Bells is perhaps the most famous song in American music history. James L. Pierpont published the piece as One Horse Open Sleigh in the late 1850s. Since its introduction, people began to insist that Pierpont wrote it for a Sunday school choir. However, it seems unlikely that such a secular song would be considered appropriate during that historical period for Sunday school. Christmas Repertoire Pierpont wrote the song for the Thanksgiving holidays, but people began to think of it more as a Christmas song over time. Some choirs adopted it as part of their Christmas repertoire in the 1860s and 1870s. Jingle Bells was first recorded in 1889 on a wax cylinder. Origins No one knows where Pierpont composed the song. One theory suggests he wrote it in Medford, Massachusetts, in 1850. Sleigh races were undoubtedly famous in 19th-century Massachusetts. To this day, a commemorative placard appears in Medford Square, claiming it is the birthplace of Jingle Bells. Others suggest that he wrote it in Savannah, Georgia where he was an organist and music director at the Unitarian Church. This theory gained support from the copyright date of 1857. We know he was living in Savannah by then. Traffic Signals Horse-drawn sleighs are relatively quiet in the snow. Consequently, horses usually had bell-laden straps to avoid accidents at blind intersections. Sleigh drivers in 19th Century New England were constantly vigilant, listening for the sounds of approaching horse-drawn sleighs. The tune imitates the rhythm that the trotting horse bells produce. Social Context Jingle Bells was sung as a drinking song at local revelries: during the song, folks would rhythmically jingle the ice in their glasses. A sleigh ride allowed couples to be alone together. The term Jingle bells is a poetic descriptive adjective referring specifically to the more accurate term sleigh bells. In many arrangements, sleigh bells accentuate the rhythm during the song's chorus.Â
$24.95
22.96 €
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Saxophone Alto et Piano
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James Pierpont
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James M
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piano
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Jingle Bells for Alto Sax & Piano
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jmsgu3
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SheetMusicPlus
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