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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
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FLUTE DE PAN
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FORMATION MUSI…
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HARPE
HAUTBOIS
LIVRES
LUTH
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OCARINA
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SAXOPHONE
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TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
After Dark
Non classifié
50
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Piano seul
44
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16
Piano Facile
13
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7
Orgue
6
2 Pianos, 4 mains
2
1 Piano, 4 mains
2
Instruments en Do
2
Ensemble d'Accordéons
1
Accordéon
1
Piano (partie séparée)
1
+ 6 instrumentations
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Guitare
5
Guitare (partie séparée)
2
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1
Voix
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34
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6
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4
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4
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3
Voix Soprano
3
Chorale SSAA
2
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2
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1
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1
Chorale 2 parties
1
Voix haute
1
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Flûte traversière et Piano
10
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5
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4
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4
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4
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3
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3
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3
Clarinette
3
Hautbois, Piano (duo)
3
Saxophone Alto et Piano
2
Hautbois (partie séparée)
2
Saxophone Baryton, Piano
2
Flûte traversière
2
Clarinette Basse, Piano
2
Saxophone Soprano et Piano
2
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2
Trio de Flûtes: 3 flûtes
1
Clarinette (partie séparée)
1
Saxophone Tenor et Piano
1
2 Saxophones, Piano
1
Ensemble de Clarinettes
1
Ensemble de Flûtes
1
Saxophone Tenor
1
Quatuor de Clarinettes: 4 clarinettes
1
2 Flûtes traversières (duo)
1
Flûte à Bec
1
Quatuor de Flûtes : 4 flûtes
1
Cor anglais, Piano
1
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
5
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4
Trompette (partie séparée)
4
Cor et Piano
4
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2
Euphonium, Piano (duo)
2
Cor
2
Trombone et Piano
2
Tuba
1
Trombone
1
Tuba et Piano
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Trompette
1
Cor (partie séparée)
1
Tuba (partie séparée)
1
Cor anglais, Piano
1
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Cordes
Violon et Piano
13
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13
Alto, Piano
5
Violon
3
Alto seul
2
Alto (partie séparée)
2
Violoncelle, Piano
2
Violoncelle
2
Violoncelle , Guitare (duo)
1
2 Violons (duo)
1
Contre Basse
1
Harpe
1
+ 7 instrumentations
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Orchestre d'harmonie
29
Ensemble Jazz
13
Orchestre
12
Orchestre de chambre
6
Ensemble de cuivres
5
Orchestre à Cordes
5
Jazz combo
2
Ensemble de Percussions
1
Batterie (partie séparée)
1
Fanfare
1
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--INSTRUMENTS--
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ALTO
AUTOHARPE
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BASSE
BASSON
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Vous avez sélectionné:
After Dark
Guitare
Partitions à imprimer
5 partitions trouvées
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1
After Dark
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Guitare
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INTERMÉDIAIRE
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Medina Hufsteter and Tito Larr
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Viktoriia Kulykovska
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After Dark
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Viktoriia Kulykovska
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1286587 Composed by Medina Hufsteter and Tito Larriva. Arranged by Viktoriia Kulykovska. 20th Century,Film/TV. Individua...
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Solo Guitar - Level 3 - SKU: A0.1286587 Composed by Medina Hufsteter and Tito Larriva. Arranged by Viktoriia Kulykovska. 20th Century,Film/TV. Individual part. 2 pages. Viktoriia Kulykovska #877652. Published by Viktoriia Kulykovska (A0.1286587). A famous song After Dark from “From Dusk till Dawnâ€. Arranged for classical guitar by Viktoriia Kulykovska. Medium level of difficulty.
$5.00
Excerpt from the Lyric Suite
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alban Berg
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Rod Whittle
#
4 pp
#
Excerpt from the Lyric Suite
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Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
'Change of scene' from Act III of Wozzeck
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Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Alban Berg
#
Rod Whittle
#
'Change of scene' from Act III
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874...
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Solo Guitar - Level 4 - SKU: A0.899135 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 3 pages. Maggie Creek Music #3874077. Published by Maggie Creek Music (A0.899135). For solo classical guitar; 3 ppAlban Berg 1885 -1935 Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
$5.00
Excerpt from Lulu Suite
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Guitare
#
Contemporain
#
Alban Berg
#
Rod Whittle
#
Excerpt from Lulu Suite
#
Maggie Creek Music
#
SheetMusicPlus
Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Publi...
(+)
Solo Guitar - SKU: A0.899140 Composed by Alban Berg. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #4349085. Published by Maggie Creek Music (A0.899140). for solo classical guitar 4 pp (7 min.)ALBAN BERG (1885 -1935) Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality. As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. With it Berg discovered the way to express what he wanted to.
$5.00
Tarlenton's Riserrectione - Guitar
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Guitare
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John Dowland
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Arte Nova Music Lab
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Tarlenton's Riserrectione - Gu
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Arte Nova Music Lab
#
SheetMusicPlus
Solo Guitar - SKU: A0.742409 Composed by John Dowland. Arranged by Arte Nova Music Lab. Concert,Renaissance,Standards. Individual part. 2 pages. Arte No...
(+)
Solo Guitar - SKU: A0.742409 Composed by John Dowland. Arranged by Arte Nova Music Lab. Concert,Renaissance,Standards. Individual part. 2 pages. Arte Nova Music Lab #3009351. Published by Arte Nova Music Lab (A0.742409). John Dowland[1] (1563 – buried 20 February 1626) was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as Come, heavy sleep (the basis of Benjamin Britten's 1963 composition for guitar solo, Nocturnal after John Dowland), Come again, Flow my tears, I saw my Lady weepe and In darkness let me dwell, but his instrumental music has undergone a major revival, and with the 20th century'searly music revival, has been a continuing source of repertoire for lutenists and classical guitarists. Taken from https://en.wikipedia.org/wiki/John_Dowland
$5.00
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After Dark
