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ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
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CLARINETTE
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Nocturne No. 3
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49
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246
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16
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4
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3
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2
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1
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1
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1
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1
Piano Quatuor: piano, 2 violons, violoncelle
1
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7
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16
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13
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12
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8
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4
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4
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4
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4
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4
3 Clarinettes (trio)
3
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3
5 Flûtes à bec
3
Saxophone Alto
2
Saxophone Tenor et Piano
2
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2
Hautbois
2
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2
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2
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
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5
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4
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4
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3
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3
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2
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2
Cor et Piano
1
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1
3 Trompettes (trio)
1
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22
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20
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18
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15
Violon
8
Violon, Violoncelle (duo)
5
Harpe
5
Alto seul
4
Violoncelle
3
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2
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2
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1
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1
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1
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1
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1
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1
Violon, Basson (duo)
1
Harpe, Violon (duo)
1
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10
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Vous avez sélectionné:
Nocturne No. 3
Saxophone Tenor et Piano
Partitions à imprimer
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Nocturne Op. 9, No. 1 for Tenor Saxophone and Piano
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Saxophone Tenor 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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Nocturne Op. 9, No. 1 for Teno
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Diego Marani
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SheetMusicPlus
Piano,Tenor Saxophone - Level 3 - SKU: A0.1281219 Composed by Frederic Chopin. Arranged by Diego Marani. Classical,Instructional,Romantic Period,Standar...
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Piano,Tenor Saxophone - Level 3 - SKU: A0.1281219 Composed by Frederic Chopin. Arranged by Diego Marani. Classical,Instructional,Romantic Period,Standards,Wedding. Score and part. 10 pages. Diego Marani #872563. Published by Diego Marani (A0.1281219). One of the better known nocturnes, this piece has a rhythmic freedom that came to characterize Frédéric Chopin's later work. The piece is 85 measures long and in 6/4 meter is written in ternary form; after the primary theme, the secondary theme starts in measure 19, followed by a modified version of the primary theme in measure 70. The opening section moves into a contrasting middle section in the same key signature, which flows back to the opening material in a transitional passage. The reprise of the first section grows out of this, followed by a Picardy third ending.This arrangement for tenor sax with piano accompaniment reflects faithfully the original and is suitable for any purpose and occasion.
$8.99
Scriabin: Prelude Op. 11 No. 2 for Tenor Sax & Piano
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Saxophone Tenor et Piano
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INTERMÉDIAIRE
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2
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jmsgu3
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SheetMusicPlus
Piano,Tenor Saxophone - Level 3 - SKU: A0.549469 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Per...
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Piano,Tenor Saxophone - Level 3 - SKU: A0.549469 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499759. Published by jmsgu3 (A0.549469). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
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Nocturne No. 3
