Page d'accueil
Parcourir Free-scores.com
--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
New Method
Non classifié
94
Piano & claviers
Piano seul
56
Piano Facile
39
Orgue
8
Piano, Voix
8
2 Pianos, 4 mains
6
1 Piano, 4 mains
5
Instruments en Do
3
Accordéon
2
Piano, Voix et Guitare
2
Piano Trio: piano, violon, violoncelle
1
1 Piano, 6 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 7 instrumentations
Retracter
Guitares
Guitare
22
Guitare notes et tablatures
8
Mandoline
3
Banjo
3
Basse electrique
2
Ukulele
2
Dulcimer
1
Piano, Guitare (duo)
1
+ 3 instrumentations
Retracter
Voix
Chorale SATB
10
Chorale 2 parties
5
Voix duo
3
Chorale 3 parties
2
Chorale Unison
2
Chorale TTBB
1
Voix Tenor, Piano
1
+ 2 instrumentations
Retracter
Vents
Saxophone Tenor et Piano
7
Flûte à bec Soprano
5
Saxophone Soprano et Piano
5
Clarinette
5
Flûte irlandaise
5
Saxophone Alto et Piano
5
Flûte traversière
3
Flûte traversière et Piano
2
Flûte, Hautbois, Clarinette, Basson
2
Clarinette et Piano
2
Quatuor de Saxophones: 4 saxophones
2
2 Saxophones (duo)
1
2 Flûtes traversières (duo)
1
Saxophone
1
Flûte à bec Alto
1
Flûte traversière, Basse continue
1
Hautbois, Piano (duo)
1
Saxophone Baryton, Piano
1
Saxophone Alto
1
Harmonica
1
Saxophone Tenor
1
Quintette de Saxophone: 5 saxophones
1
Saxophone (partie séparée)
1
Flûte, Clarinette (duo)
1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1
+ 20 instrumentations
Retracter
Cuivres
2 Cors (duo)
15
Trompette
8
Trombone
7
Trompette, Piano
3
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
3
Tuba
2
Quatuor de Cuivres
2
Trombone basse
1
Ensemble de Trombones
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Bass Clef Instruments
1
Trompette, Cor (duo)
1
Trombone et Piano
1
Cor et Piano
1
Cor
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
+ 11 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
17
Violoncelle
12
Violon et Piano
11
Violon
10
Harpe
8
2 Violons (duo)
5
Trio à Cordes: violon, alto, violoncelle
5
Alto, Piano
5
Harpe et Piano
4
Violon, Alto (duo)
4
Violon, Violoncelle (duo)
3
Violon, Guitare (duo)
3
Violoncelle, Contrebasse (duo)
3
Contre Basse
3
Violoncelle, Piano
3
Violon (partie séparée)
2
2 Violoncelles (duo)
2
Alto seul
2
Autoharp
1
Violoncelle (partie séparée)
1
+ 15 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
13
Batterie
9
Orchestre de chambre
5
Cloches
4
Orchestre
3
Orchestre d'harmonie
3
Vibraphone
2
Ensemble d'École
2
Ensemble Jazz
2
Piano et Orchestre
1
Jazz combo
1
+ 6 instrumentations
Retracter
Autres
Théorie de la musique
4
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
0
Partitions Numériques
5
Librairie Musicale
2
Matériel de Musique
159
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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 -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
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
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
New Method
Saxophone Alto et Piano
Partitions à imprimer
5 partitions trouvées
<
1
Mendelssohn: Wedding March for Alto Sax & Piano
#
Saxophone Alto et Piano
#
INTERMÉDIAIRE
#
Classique
#
Felix Bartholdy Mendelssohn
#
James M
#
Mendelssohn: Wedding March for
#
jmsgu3
#
SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.549892 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,...
(+)
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
Alto Sax - "And Can It Be?" Theme and Variations
#
Saxophone Alto et Piano
#
INTERMÉDIAIRE
#
Musique Sacrée
#
Lyrics: Charles Wesley, Music:
#
Dan Cutchen
#
Alto Sax - "And Can It Be
#
Dan Cutchen Music
#
SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged...
(+)
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
Come, Let Us Use The Grace Divine (Alto Saxophone and Piano)
#
Saxophone Alto et Piano
#
FACILE
#
Musique Sacrée
#
Traditional
#
Stephen DeCesare
#
Come, Let Us Use The Grace Div
#
Exultet Music
#
SheetMusicPlus
Alto Saxophone,Piano - Level 2 - SKU: A0.629608 Composed by Traditional. Arranged by Stephen DeCesare. Christian,Praise & Worship,Sacred. Score and part...
(+)
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
#
Saxophone Alto et Piano
#
AVANCÉ
#
Classique
#
Contemporain
#
Nikolay Andreyevich Rimsky-Kor
#
James M
#
Korsakov: Flight of the Bumble
#
jmsgu3
#
SheetMusicPlus
Alto Saxophone,Piano - Level 5 - SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Roma...
(+)
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
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
New Method
