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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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CORNET
DEEJAY
DIDGERIDOO
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MANDOLINE
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TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Piano Sonata No. 8 in C Minor
Non classifié
10
Piano & claviers
Piano seul
50
Piano Facile
8
Guitares
Guitare notes et tablatures
1
Guitare
1
Voix
Vents
Flûte traversière et Piano
5
Saxophone Alto et Piano
4
Clarinette et Piano
4
2 Saxophones (duo)
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
Saxophone Soprano et Piano
3
Hautbois, Piano (duo)
3
2 Flûte à bec (duo)
2
2 Flûtes traversières (duo)
2
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2
Saxophone Tenor et Piano
2
2 Clarinettes (duo)
2
Saxophone Baryton, Piano
1
Piccolo, Piano
1
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1
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1
Clarinette, Guitare (duo)
1
Flûte à Bec, Piano
1
Clarinette, Basson (duo)
1
Flûte à bec Alto, Piano
1
Flûte, Clarinette (duo)
1
Flûte à bec Tenor
1
+ 17 instrumentations
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4
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2
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2
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2
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2
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1
Trio de Cuivres
1
Cor anglais, Piano
1
3 Trompettes (trio)
1
3 Tubas (trio)
1
Trombone basse et Piano
1
3 Cors (trio)
1
Tuba et Piano
1
+ 8 instrumentations
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Violon et Piano
8
Violoncelle, Piano
5
Alto, Piano
5
Violon
4
Quatuor à cordes: 2 violons, alto, violoncelle
3
Contrebasse, Piano (duo)
2
2 Altos (duo)
2
2 Violons (duo)
1
Alto, Guitare (duo)
1
Contre Basse
1
Alto, Violoncelle (duo)
1
Violon, Alto (duo)
1
Violon, Violoncelle (duo)
1
2 Violoncelles (duo)
1
Alto seul
1
Violoncelle
1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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CORNET
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FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
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HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
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OCARINA
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ORGUE
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Vous avez sélectionné:
Piano Sonata No. 8 in C Minor
Saxophone Tenor et Piano
Partitions à imprimer
2 partitions trouvées
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Largo
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Saxophone Tenor et Piano
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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Jirka Kadlec
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Piano
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Largo
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Editions Marc Reift - Digital
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SheetMusicPlus
From Violin Sonata No. 4 in C minor BWV 1017. Composed by Johann Sebastian Bach (1685- 1750). Arranged by Jirka Kadlec. Tenor Saxophone & Piano. Sc...
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From Violin Sonata No. 4 in C minor BWV 1017. Composed by Johann Sebastian Bach (1685- 1750). Arranged by Jirka Kadlec. Tenor Saxophone & Piano. Score and parts. 8 pages. Duration 4'08. Editions Marc Reift - Digital #41229. Published by Editions Marc Reift - Digital
$6.95
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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Piano Sonata No. 8 in C Minor
