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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
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Alto Flute Sonata
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73
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2
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1
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32
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22
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14
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8
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7
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7
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6
Flûte à bec Alto, Basse continue
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5
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Vous avez sélectionné:
Alto Flute Sonata
Orchestre d'harmonie
Partitions à imprimer
4 partitions trouvées
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Sonata for Alto Saxophone, Op. 29 (37-Piece Digital Pack)
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Orchestre d'harmonie
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AVANCÉ
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Classique
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Anthony LaBounty
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Sonata for Alto Saxophone, Op.
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Hal Leonard - Digital
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SheetMusicPlus
Level 5 - SKU: HX.330213 Arranged by Anthony LaBounty. This edition: scorch. Classical. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Di...
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Level 5 - SKU: HX.330213 Arranged by Anthony LaBounty. This edition: scorch. Classical. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.330213).
Digital Pack includes
:
Sonata for Alto Saxophone, Op. 29 - Conductor Score (Full Score)
Sonata for Alto Saxophone, Op. 29 - Solo Eb Alto Saxophone
Sonata for Alto Saxophone, Op. 29 - Flute 1
Sonata for Alto Saxophone, Op. 29 - Flute 2
Sonata for Alto Saxophone, Op. 29 - Oboe 1
Sonata for Alto Saxophone, Op. 29 - Oboe 2
Sonata for Alto Saxophone, Op. 29 - Bb Clarinet 1
Sonata for Alto Saxophone, Op. 29 - Bb Clarinet 2
Sonata for Alto Saxophone, Op. 29 - Bb Clarinet 3
Sonata for Alto Saxophone, Op. 29 - Bb Bass Clarinet
Sonata for Alto Saxophone, Op. 29 - Eb Contra Alto Clarinet
Sonata for Alto Saxophone, Op. 29 - Bb Contra Bass Clarinet
Sonata for Alto Saxophone, Op. 29 - Bassoon 1
Sonata for Alto Saxophone, Op. 29 - Bassoon 2
Sonata for Alto Saxophone, Op. 29 - Eb Alto Saxophone 1
Sonata for Alto Saxophone, Op. 29 - Eb Alto Saxophone 2
Sonata for Alto Saxophone, Op. 29 - Bb Tenor Saxophone
Sonata for Alto Saxophone, Op. 29 - Eb Baritone Saxophone
Sonata for Alto Saxophone, Op. 29 - Bb Trumpet 1
Sonata for Alto Saxophone, Op. 29 - Bb Trumpet 2
Sonata for Alto Saxophone, Op. 29 - Bb Trumpet 3
Sonata for Alto Saxophone, Op. 29 - F Horn 1
Sonata for Alto Saxophone, Op. 29 - F Horn 2
Sonata for Alto Saxophone, Op. 29 - Trombone 1
Sonata for Alto Saxophone, Op. 29 - Trombone 2
Sonata for Alto Saxophone, Op. 29 - Bass Trombone
Sonata for Alto Saxophone, Op. 29 - Euphonium in Bass Clef
Sonata for Alto Saxophone, Op. 29 - Euphonium in Treble Clef
Sonata for Alto Saxophone, Op. 29 - Tuba
Sonata for Alto Saxophone, Op. 29 - Contrabass
Sonata for Alto Saxophone, Op. 29 - Violincello
Sonata for Alto Saxophone, Op. 29 - Timpani
Sonata for Alto Saxophone, Op. 29 - Percussion 1
Sonata for Alto Saxophone, Op. 29 - Percussion 2
Sonata for Alto Saxophone, Op. 29 - Percussion 3
Sonata for Alto Saxophone, Op. 29 - Percussion 4
Sonata for Alto Saxophone, Op. 29 - Percussion 5
$95.00
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
Beethoven’s Browne
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Stephen R Dalrymple
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Beethoven’s Browne
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Stephen R Dalrymple
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.818277 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalrymple (Dalrymple Designs). Classical. ...
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Concert Band - Level 3 - SKU: A0.818277 By Stephen R Dalrymple. By Stephen R Dalrymple. Arranged by Stephen R Dalrymple (Dalrymple Designs). Classical. Score and parts. 60 pages. Stephen R Dalrymple #4855443. Published by Stephen R Dalrymple (A0.818277). Beethoven’s Browne ♫ transcription of Piano Sonata 6 Movement 2 by Ludwig van Beethoven Opus 10 Number 2 ♫ arranged by Stephen R Dalrymple for Concert Band ♫ arrangement © 2001, 2020 Stephen R Dalrymple ♫ recording ℗ 2022 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ sequenced by the arranger ♫ Purchase price includes permission is granted to make photocopies of parts and additional scores for a medium size school band. ♫ Flute, Oboe, Clarinet 1, Clarinet 2, Alto Clarinet, Bass Clarinet, Alto Sax, Tenor Sax, Baritone Sax, Trumpet 1, Trumpet 2, F Horn, Trombone/Baritone/Bassoon, Treble Clef Baritone, Tuba, Electric Bass, Snare/Triangle and Timpani. ♫ Beethoven’s 6th Piano Sonata is dedicated to Countess Anna Margarete von Braun. It was written during 1796-1798. Beethoven was 25 to 28 years old at the time. ♫ In Sonata Six Beethoven substituted a 3:4 movement for the typical slow movement. Although he used the common Minuet, Trio, Minuet formula, he experimented with the form by eliminating literal repetitions. Sonata 6 consists of 3 movements. This piece is based on the middle movement of the middle sonata. This middle movement has 3 sections. It is written in 3:4 time. The middle section of the movement is written in trio form. ♫ The YouTube video contains a full recording.
$19.00
Kristinmark Overture for Concert Band
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Orchestre d'harmonie
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FACILE
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Contemporain
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Gregory Fritze
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Kristinmark Overture for Conce
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Musica Nova USA
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.917396 Composed by Gregory Fritze. 20th Century,Classical,Contemporary. Score and parts. 125 pages. Musica Nova USA #48...
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Concert Band - Level 2 - SKU: A0.917396 Composed by Gregory Fritze. 20th Century,Classical,Contemporary. Score and parts. 125 pages. Musica Nova USA #4821537. Published by Musica Nova USA (A0.917396). Kristenmark Overture was commissioned and composed for the Symphonic Wind Ensemble of the University of Minnesota Duluth, Mark Whitlock conductor and the Symphony Band of the University of Wisconsin River Falls, Kristin Tjornehoj, conductor.The name Kristinmark are the first names of both conductors.It has been played many times in Europe, South America and the United States. It is often used in honor band festivals as it fits the level of difficulty (grade 4) for the average high school band festival and good duration for such events – seven minutes. The piece is in a clear Sonata Allegro form and includes short solos for trombone, horn, alto sax, trumpet, timpani, snare drum, tuba, oboe, crotales, flute, piccolo, bassoon, euphonium and clarinet. Non of the solos are very long or difficult. The solos are meant to feature as many musicians as possible. In some cases, alternate instruments have cues if particular instrumentalists are not strong performers . In 2017 Kristenmark Overture was submitted to The American Prize Composition Contest, Band Division. It placed as a Semi Finalist that year.Kristenmark Overture can be heard by the Brazilian Wind Orchestra, conducted by Dario Sotelo at: http://www.youtube.com/watch?v=bk-PvXTvxy8
$60.00
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Alto Flute Sonata
