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--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
Once I Was There
Sheetmusicplus
Non classifié
613
Piano & claviers
Piano seul
121
Piano, Voix et Guitare
23
Piano, Voix
20
Instruments en Do
11
Piano Facile
8
Orgue
5
2 Pianos, 4 mains
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
1 Piano, 4 mains
1
Piano (partie séparée)
1
+ 5 instrumentations
Retracter
Guitares
Guitare
16
Ligne De Mélodie, (Paroles) et Accords
6
2 Guitares (duo)
4
Guitare notes et tablatures
4
Mandoline
3
3 Guitares (trio)
3
4 Guitares (Quatuor)
2
Piano, Guitare (duo)
2
Guitare, Orchestre
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
59
Voix seule
5
Voix Baryton, Piano
4
Chorale 3 parties
4
Chorale 2 parties
3
Voix Tenor, Piano
2
Chorale TTBB
2
Voix Alto, Piano
1
Chorale SSAA
1
Chorale SSATTB
1
Voix duo
1
Chorale Unison
1
Voix Soprano, Piano
1
+ 8 instrumentations
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Vents
Quintette de Saxophone: 5 saxophones
93
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
70
Ensemble de saxophones
70
Ensemble de Clarinettes
29
Ensemble de Flûtes
13
Quintette de Flûte : 5 flûtes
12
2 Saxophones (duo)
12
Flûte traversière et Piano
11
2 Clarinettes (duo)
9
Saxophone Alto et Piano
9
Saxophone, Clarinette (duo)
8
Flûte, Hautbois, Clarinette, Basson
8
Flûte traversière
7
Hautbois, Piano (duo)
7
2 Flûtes traversières (duo)
7
Clarinette, Violon (duo)
6
Clarinette
6
Quatuor de Saxophones: 4 saxophones
6
Clarinette et Piano
6
2 Hautbois (duo)
5
Saxophone Tenor et Piano
5
Hautbois (partie séparée)
4
Saxophone Baryton, Piano
4
Flûte, Clarinette (duo)
4
Flûte, Saxophone (duo)
3
Cor anglais, Piano
3
Flûte, Violon
3
Flûte, Alto (duo)
3
Hautbois, Basson (duo)
3
Hautbois, Clarinette (duo)
3
Saxophone Soprano et Piano
3
Clarinette et Alto
3
2 Flûtes traversières, Piano
2
Hautbois, Flûte
2
Flute (partie séparée)
2
Trio de Flûtes: 3 flûtes
2
Clarinette, Trompette (duo)
2
Clarinette Basse, Piano
2
3 Saxophones (trio)
1
Quintette de Clarinettes: 5 clarinettes
1
Saxophone et Orgue
1
Clarinette, Violoncelle (duo)
1
Piccolo
1
Flûte à bec Soprano
1
Saxophone et Guitare
1
Quatuor de Flûtes : 4 flûtes
1
Piccolo, Piano
1
Saxophone Soprano
1
Flûte et Guitare
1
Clarinette, Basson (duo)
1
Clarinette, Trombone (duo)
1
Flûte à bec Soprano, Piano
1
Saxophone Alto
1
Flûte, Violon, Piano
1
Saxophone Tenor
1
Saxophone (partie séparée)
1
+ 51 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
77
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
32
Ensemble de Trombones
27
Quatuor de Cuivres: 2 trompettes, Cor, trombone
22
Quatuor de Cuivres
16
Ensemble de Trompettes
15
Trompette
8
2 Trombones (duo)
7
Ensemble de Cors
5
Trompette, Saxophone (duo)
5
2 Trompettes (duo)
4
Euphonium, Piano (duo)
4
Trompette, Trombone (duo)
4
Trombone et Piano
4
Cor anglais, Piano
3
2 Cors (duo)
3
Cor et Piano
3
Tuba et Piano
2
Trio de Cuivres
2
2 Tubas (duo)
2
Trompette, Piano
2
Tuba
2
Quatuor de cuivres: 4 trombones
1
Trombone
1
Cor
1
Bass Clef Instruments
1
Trombone basse et Piano
1
+ 22 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
21
Violon et Piano
18
Ensemble de Violons
14
Ensemble d'Altos
14
Trio à Cordes: violon, alto, violoncelle
13
Harpe
10
2 Violoncelles (duo)
10
Violon
10
Violoncelle, Piano
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
2 Altos (duo)
6
Alto, Piano
6
Violon, Alto (duo)
5
2 Violons (duo)
5
Violoncelle
5
Violon, Violoncelle (duo)
4
Alto seul
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Alto, Violoncelle (duo)
2
4 Violoncelles
2
Alto et Basson
1
Contre Basse
1
Harpe, Voix
1
Quatuor à cordes : 4 altos
1
Trio à Cordes: 2 violons, violoncelle
1
Quatuor à cordes: 4 violons
1
Ensemble de Violoncelles
1
+ 22 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
82
Orchestre à Cordes
38
Orchestre
32
Orchestre de chambre
16
Ensemble de cuivres
14
Ensemble Jazz
6
Ensemble de Percussions
1
2 Marimbas
1
Piano et Orchestre
1
+ 4 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
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BOUZOUKI
CHORALE - CHAN…
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CLAIRON
CLARINETTE
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Vous avez sélectionné:
Once I Was There
SheetMusicPlus
Partitions à imprimer
6 partitions trouvées
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Concerto No. 3
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Clarinette
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Johann Melchior Molter
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Concerto No. 3
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Imagine Music - Digital
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SheetMusicPlus
E-flat clarinet & piano - SKU: IZ.PDP009 Composed by Johann Melchior Molter. Score and Parts. 25 pages. Imagine Music - Digital #PDP009. Published by Im...
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E-flat clarinet & piano - SKU: IZ.PDP009 Composed by Johann Melchior Molter. Score and Parts. 25 pages. Imagine Music - Digital #PDP009. Published by Imagine Music - Digital (IZ.PDP009). 9 x 12 in inches.Johann Melchior Molter achieved particular notoriety for his writing for unusual instruments, such as the chalumeau, the flauto d' amore, the flauto cornetto, and the harp. The clarinet was at the time a very new and quite unrefined instrument, but the Karlsruhe court orchestra possessed a musician (Johann Reusch) who played it. In 1747 Molter wrote four concerti for the piccolo clarinet in D, which are possibly the first clarinet concerti ever written. The motives and fanfare-like arpeggiated figures of these clarinet concerti reflect the early clarinet's reputed tonal similarity to the trumpet. It is interesting to note that the English referred to the early clarinet as the Mock Trumpet, and the name clarinet itself is derived from the Italian word for trumpet, clarino. The piccolo clarinet in D is the clarinet for which Richard Strauss wrote the main motive of his famous tone poem Till Eulenspiegel, and it also notably appears in the symphonies of Mahler and Stravinsky's Le sacre du printemps. The D clarinet is still in fairly common use today, but the majority of modem clarinetists perform parts written for the D clarinet on the much more common E-flat clarinet. For this arrangement I wished to allow the clarinetist to perform Molter's third concerto on the E-flat clarinet in the same key as it was written for the D clarinet. Therefore, I have transposed the piece from the original key of G to A-flat, which keeps the written solo part in the key of F. It is my sincere hope that this practicality will allow many more clarinetists to enjoy performing this historically significant piece of clarinet repertoire.
$20.00
Concerto For Clarinet
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Clarinette
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AVANCÉ
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Jazz
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Artie Shaw
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Edited Robert C
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Concerto For Clarinet
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Robert C. Olivia
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SheetMusicPlus
B-Flat Clarinet Solo - Level 5 - SKU: A0.1404050 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. Individual part. 17 pages. Rob...
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B-Flat Clarinet Solo - Level 5 - SKU: A0.1404050 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. Individual part. 17 pages. Robert C. Olivia #987223. Published by Robert C. Olivia (A0.1404050). This edition of the solo clarinet part of the Artie Shaw Concerto for Clarinet is a note for note transcription of what Shaw recorded on the record version and in the motion picture.Shaw’s solos as played in both the motion picture and record version are represented in great detail with the film solo shown as ossia so the player can view and choose which they might prefer to play. As many techniques as possible are carefully detailed to show ornaments, slurs, accents etc.The companion parts available here for big band and strings restores many elements missing in other versions available.  The strings here are restored to the original voicings so  important to the style of the classic sound of the period. The solos are transcribed note for note as played by greats such as Billy Butterfield on Trumpet, Johnny Guarnieri on Piano, Les Robinson on Alto Sax, Jerry Jerome on Tenor Sax, Vernon “Brownie†Brown on Trombone. There is an entire sax riff that was extemporaneously improvised during the session that is missing entirely in other published versions. The instrumentation is also restored to only the instruments that were used in Shaw’s recordings. There are many details that help the ease of performability of the genre and gesture of jazz idiom. Lastly, the intention is that this should be performed with saxophones. However, there are optional parts for clarinets and bassoons that can be used only if saxes are not available. I have performed from this solo part many times and I hope others will do so as well. I give great thanks to several people, who over the course of my career, taught me many skills that resulted in this. Special thanks to my teachers Bob Wilber, Leon Russianoff & Tom Martin and Marty Burlingame & JoAnn and Artie Kane.
$35.00
When I'm Sixty-four
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Clarinette
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INTERMÉDIAIRE
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Rock
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The Beatles
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David McKeown
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When I'm Sixty-four
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David McKeown
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SheetMusicPlus
Clarinet Solo - Level 3 - SKU: A0.588374 By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by Davi...
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Clarinet Solo - Level 3 - SKU: A0.588374 By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by David McKeown. Rock. Individual part. 3 pages. David McKeown #5319393. Published by David McKeown (A0.588374). When I’m Sixty-Four first appeared on the Beatles’ 1967 album, Sgt. Pepper’s Lonely Hearts Club Band. Despite the song’s appearance relatively late in the Beatles’ discography, it was one of the first songs that Paul McCartney wrote, at the age of 16. When the song was finally recorded in 1966, Paul McCartney felt it was too slow and turgid. George Martin simply solved the problem by speeding up the tape and raising the pitch by one semitone. This version of When I’m Sixty-Four is arranged in a suitable key and range for solo Clarinet. Piano/Guitar chords are also included in concert pitch above the stave.Musicians at an intermediate level will find this ideal for formal and informal concert performance. The overall performance time is around two and a half minutes. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$4.99
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Clarinet 1
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Clarinette
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AVANCÉ
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and S
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Benjamin Sajo
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SheetMusicPlus
Clarinet Solo - Level 5 - SKU: A0.1018927 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 5 pages. Benjamin Sajo #6072957. ...
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Clarinet Solo - Level 5 - SKU: A0.1018927 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 5 pages. Benjamin Sajo #6072957. Published by Benjamin Sajo (A0.1018927). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Clarinet 2
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Clarinette
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AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and S
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Benjamin Sajo
#
SheetMusicPlus
Clarinet Solo - Level 5 - SKU: A0.1018929 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 5 pages. Benjamin Sajo #6072959. ...
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Clarinet Solo - Level 5 - SKU: A0.1018929 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 5 pages. Benjamin Sajo #6072959. Published by Benjamin Sajo (A0.1018929). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
TWO NEW MEDITATIONS for solo Clarinet
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Clarinette
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INTERMÉDIAIRE
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Contemporain
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Alan Edgar
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TWO NEW MEDITATIONS for solo C
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Alan Edgar Ted Moon
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SheetMusicPlus
Clarinet Solo - Level 3 - SKU: A0.1404967 Composed by Alan Edgar. 20th Century. Individual part. 4 pages. Alan Edgar Ted Moon #988003. Published by Alan...
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Clarinet Solo - Level 3 - SKU: A0.1404967 Composed by Alan Edgar. 20th Century. Individual part. 4 pages. Alan Edgar Ted Moon #988003. Published by Alan Edgar Ted Moon (A0.1404967). Duration: about 3 minutes. If you are to perform the pieces, please let us know: there is no charge. In contrast to my very popular Two Meditations, which were in ancient modes, these use 20thC techniques. Woodland was inspired by a notated motif and mysterious elements found in a tapestry by Libby Morton-Gibson and by the quartal-based Haru No Umi or The Sea in Spring by Michio Miyagi. After I play a game with the scale, every phrase delineates a four-note quartal: classical progressions including a circle of fifths are cunningly concealed within. The rhythms are unpredictable. Use your imagination. The scale game returns in retrograde at the end. Will- o'-the- Wisp is the eerie and elusive flame sometimes formed over marshes. The term is also used to mean an unobtainable wish. I use my octatonic scale.
$20.00
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Once I Was There
