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TRI ET FILTRES
Tri et filtres :
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Clavier
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GUITARES
Guitare notes et tablatures
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49
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7
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3
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Chorale SATB
221
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80
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36
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1
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1
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1
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VENTS
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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32
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CUIVRES
Quatuor de Cuivres
26
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
22
Trombone et Piano
19
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16
Trombone (partie séparée)
16
Trompette, Piano
16
Trompette
14
Cor et Piano
12
Cor (partie séparée)
11
Quatuor de Cuivres : 2 trompettes, trombone, tuba
9
2 Cors (duo)
8
Quatuor de Cuivres: 2 trompettes, Cor, trombone
8
2 Trompettes (duo)
7
Trombone
7
Tuba et Piano
6
Cor anglais, Piano
5
Euphonium, Piano (duo)
5
2 Trombones (duo)
5
Tuba (partie séparée)
5
Trombone, Orgue
2
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2
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2
Euphonium, Tuba (duo)
2
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Cor, Tuba (duo)
2
Quatuor de cuivres: 4 cors
2
2 Tubas (duo)
2
3 Trombones (trio)
2
Trompette, Violoncelle et Piano
2
Quatuor de cuivres: 4 trombones
2
2 Euphoniums (duo)
1
Ensemble de Trombones
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Cor et Orgue
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Trombone basse et Piano
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Clarinette, Cor (duo)
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2 Euphoniums et 2 Tubas
1
Trompette, Harpe
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Cor Anglais
1
Ensemble de Cors
1
Trombone et orchestre
1
Cor
1
Cor et Harpe
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3 Trompettes (trio)
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Trombone basse
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
73
Violon et Piano
42
Harpe
27
Violon (partie séparée)
26
Alto, Piano
24
Violon
19
Violoncelle, Piano
19
Violon, Violoncelle (duo)
12
Contrebasse (partie séparée)
12
Quintette à cordes: 2 violons, alto, violoncelle, basse
10
Violoncelle
10
Alto (partie séparée)
10
2 Harpes (duo)
8
2 Violons (duo)
7
Contrebasse, Piano (duo)
4
Alto seul
4
Violon, Alto (duo)
4
Violoncelle (partie séparée)
4
Trio à cordes: 3 violins
4
2 Violoncelles (duo)
3
Trio à Cordes: 3 violoncelles
3
Trio à Cordes: 2 violons, violoncelle
3
Contre Basse
3
2 Altos (duo)
3
Trio à cordes: 3 altos
2
Alto, Violoncelle (duo)
2
3 Contrebasses
2
Trio à Cordes: violon, alto, violoncelle
2
Harpe, Flûte (duo)
2
Violon, Guitare (duo)
2
Piano Trio: Violon, Alto, Piano
2
Harpe, Violoncelle (duo)
2
4 Violoncelles
1
Alto et Harpe
1
4 Contrebasses
1
Quatuor à cordes : 4 altos
1
Harpe, Trombone (duo)
1
Violon, Clarinette, Piano (trio)
1
Autoharp
1
Harpe, Violon (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
1149
Orchestre à Cordes
144
Orchestre
134
Orchestre de chambre
47
Cloches
42
Ensemble Jazz
35
Ensemble de cuivres
30
Ensemble de Percussions
13
Percussion (partie séparée)
11
Jazz combo
7
2 Xylophones
6
Batterie
6
Xylophone
4
Fanfare
4
Marimba
3
Batterie (partie séparée)
2
Vibraphone
2
Bongos
1
Percussion
1
2 Marimbas
1
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AUTRES
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In Color
Trombone
Partitions à imprimer
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1
One-Man Sideshow (Trombone & Hi-Hat)
Trombone
Tenor Trombone,Trombone Solo - Level 5 - Digital Download SKU: A0.1322285 By Don Bo…
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Tenor Trombone,Trombone Solo - Level 5 - Digital Download SKU: A0.1322285 By Don Bowyer. By Don Bowyer. 20th Century,Classical. Individual part. 9 pages. Dolphin Don's Music School #910625. Published by Dolphin Don's Music School (A0.1322285). This composition, in four short movements (5 minutes total), is for trombone and hi-hat - played by one player.At the request of a friend, this composition began in 2008 as a concept for solo bassoon. Sadly, the friend passed away before performing the piece.When I was asked recently for a solo piece for bass trombone, I finally had a reason to update the original. Besides adapting it for the instrument, I also added new material. The result is four short movements for bass trombone with hi-hat, both played by one player. The hi-hat is played mostly with the pedal, but occasionally with the fingers.The final step in the evolution of this piece was this edition for tenor trombone.The first movement combines chromatic patterns, diminished scales, and blues licks. The hi-hat adds kicks and color.The second movement is a blues progression that swings, with backbeats on the hi-hat.The third movement attempts to obscure tonality through the use of chromaticism. It should be played very freely (rubato), with the hi-hat again adding color.Only one minute in length, the final movement treats a four-measure melody as a theme and variations reminiscent of Arthur Pryor solos of the early 20th century.
$10.00
8.96 €
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Trombone
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Don Bowyer
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One-Man Sideshow
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Dolphin Don's Music School
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SheetMusicPlus
20 Counterparts from Book 1 Rochut Bordogni Duet Accompaniments for Trombones 1-20
Trombone
Trombone Solo - Level 3 - Digital Download SKU: A0.811087 Composed by Tom Ervin. Ar…
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Trombone Solo - Level 3 - Digital Download SKU: A0.811087 Composed by Tom Ervin. Arranged by Marco Bordogni. Classical,Instructional,Opera,Romantic Period. Individual part. 26 pages. Gordon Cherry #5009439. Published by Gordon Cherry (A0.811087). The Rochut editions of Bordogni’s vocalises have become the most widly used etudes in American trombone pedigogy. They are prized for their lyric beauty, and also for their development of endurance, upper range, legato technique, styling and more. Other bass clef instrumentalists use Rochut. These Twenty Counterparts may be practiced and played as etudes alone. They are similar in style to the Bordogni; some are harder and some are easier than the Bordogni originals. But the primary intent was for recreational duet playing and for the trombone studio. Duets are fun and more, contributing to sightreading, intonation, ensemble, style-matching, confidence, independence, etc. As with the piano accompaniments, the duet parts also enhance the original melodies. Read what these famous trombonists have to say about this new contribution to the trombone literature …indisputably one of the most invaluable additions to appear in a very long time. Understanding lyricism is much easier when hearing this second voice. Joseph Alessi, Principal Trombone, New York Philharmonic …fantastic and beautiful. What a great idea! They will give the student a wonderful sense of music-making. Henry Charles Smith, Arizona State University …absolutely ingenious….they capture the essential character of each piece and cleverly expand and enhance the original material. Can be ‘stand alone’ material in its own right. I have already used them successfully on trombone, euphonium, and tuba. Loren Marsteller, Los Angeles An enjoyable new way to play the old favorites. Perform them with friends; record one part and play the other; play them alone…a great idea. Ralph Sauer, Principal Trombone Los Angeles Philharmonic A great book and a great idea! Really valuable; I am using it in my teaching. Jay Friedman, Principal Trombone, Chicago Symphony Orchestra Excellent studies, challenging in all registers, rewarding to play. Ned Meredith, formerly San Francisco Symphony Orchestra A very insightful and fresh approach to the trombone’s most important collection of etudes…destined to become a standard in the trombone literature. An absolute must! Michael Davis, jazz recording artist, New York City The unexpected harmonic progressions are a delight. They work great for euphoniums and for trombone and tuba R. Winston Morris, Tennessee Technological University …similar to the Rochut yet contains challenging rhythmic independence and contrast, increasing the value of ensemble experience. As an aid to duet performance, the measure, staff and page format is arranged the same as Rochut’s Fischer edition. Glenn P. Smith, Professor Emeritus University of Michigan A fine addition to the lyrical literature Charles Vernon, Bass Trombone Chicago Symphony Orchestra They’re not only enjoyable to play, but add some ‘zip’, harmonically, melodically, and rhythmically, to the original melodies. Buddy Baker University of Northern Colorado Compositionally, very interesting, not just a duet in thirds…stylistically appropriate…a great way to begin a lesson. Vern Kagarice, University of North Texas An outstanding idea, very valuable Keith Brown, Indiana University I enjoy the book with my students and then also change parts Carsten Svanberg, Danish National Symphony Orchestra Bravo! They serve a great purpose, very musical and playable. Will become a part of the standard trombone repertoire in a very short time…already part of mine. Jiggs Whigham, Professor of Trombone and Jazz, Cologne Germany
$25.00
22.41 €
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Trombone
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Tom Ervin
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Marco Bordogni
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20 Counterparts from Book 1 Rochut Bordogni Duet Accompaniments for Trombones 1-20
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Gordon Cherry
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SheetMusicPlus
9.28.85
Trombone
Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. …
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Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.
$7.99
7.16 €
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Trombone
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Drake Mabry
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9.28.85
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Drake Mabry
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SheetMusicPlus
Fantasy for Trombone and Band or Wind Ensemble
Trombone
Trombone Solo - Level 5 - Digital Download SKU: A0.1183925 Composed by Sigismund St…
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Trombone Solo - Level 5 - Digital Download SKU: A0.1183925 Composed by Sigismund Stojowsky. Arranged by Jacob Elkin. 20th Century,Romantic Period. Individual part. 62 pages. Gordon Cherry #783617. Published by Gordon Cherry (A0.1183925). Fantaisie for Trombone solo and Wind Ensemble by Sigismund Stojowski was composed in 1912 originally for Trombone with Piano accompaniment. This work of about 6 1/2 minutes in length is very expressive, dramatic and poetic. It has become one of the staples of the Tenor Trombone repertoire and is now available in a fantastic new arrangement by Jacob Elkin for Trombone solo with Wind Ensemble (Band).The music combines elements of late Romantic and Impressionist styles, resulting in a rich, colorful pallet of sounds.The music is appropriate for advanced performers.
$125.00
112.03 €
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Trombone
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Sigismund Stojowsky
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Jacob Elkin
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Fantasy for Trombone and Band or Wind Ensemble
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Gordon Cherry
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SheetMusicPlus
Short and Suite for Solo Trombone
Trombone
Trombone Solo - Level 4 - Digital Download SKU: A0.792443 Composed by Armand Russel…
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Trombone Solo - Level 4 - Digital Download SKU: A0.792443 Composed by Armand Russell. 20th Century,Contemporary. Individual part. 5 pages. Gordon Cherry #4823543. Published by Gordon Cherry (A0.792443). Armand Russell has written a delightful new work for Solo (unaccompanied) Trombone in four movements titled: 1. Intrada, 2. Air, 3. Scherzo and 4. Burleska Each movement has its unique feel. The composer uses syncopation and dance rhythms to keep the performer on her/his toes. The melodic 2nd movement Air is all in 5/4 time. In addition, Russell uses different colors with cup and straight mute. Almost 7 minutes in length, this work is appropriate for advanced intermediate performers.
$12.50
11.2 €
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Trombone
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Armand Russell
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Short and Suite for Solo Trombone
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Gordon Cherry
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SheetMusicPlus
Behavioral Science for trombone solo
Trombone
Trombone Solo - Level 5 - Digital Download SKU: A0.987850 Composed by Robert M. Gre…
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Trombone Solo - Level 5 - Digital Download SKU: A0.987850 Composed by Robert M. Greenberg. 20th Century. Individual part. 11 pages. Robert M. Greenberg #90287. Published by Robert M. Greenberg (A0.987850). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 14 minutes Year of composition: 1998 Program Note: Behavioral Science is in five continuous parts: Part 1: Misbehavior/Out of control Part 2: Vulgar Behavior/Gross stuff Part 3: Crisis of Confidence/Whining and whimpering Part 4: Behavior Becoming/Reflection and Introspection Part 5: With Flying Colors/Putting It All Together The initial inspiration for Behavioral Science was as follows: a few years ago, a trombonist friend of mine asked me if I wanted to join him and a few of da boys in attending the premiere of the Beavis and Butthead movie. Whoa. Beavis and Butthead with the low brass; a most stimulating prospect. A previous and, I'm sure, less interesting engagement kept me away, but the formative idea behind Behavioral Science was born: how do you civilize the eternal adolescent that is the trombone/trombonist without taking away its/his/her essential energy and joie de vivre? Behavioral Science, then, is about the trombone and, to a degree, trombone players themselves (which, by the way, I was once one myself and my daughter presently is). The piece begins with the trombone completely out of control - a raucous, screaming, stuttering length of lacquered plumbing. Across the span of the piece the trombone gradually learns lyricism and self-discipline, gaining maturity and, ultimately, self-mastery. Behavioral Science concludes with a series of extremely virtuosic passages that require, as they do, the most exacting control imaginable. Behavioral Science was composed between December, 1997 and February, 1998. It is dedicated with great affection and gratitude to Neil Hatler for his help, advice, and tireless dedication to the piece.
$16.00
14.34 €
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Trombone
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Robert M
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a most stimulating prospect
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Behavioral Science for trombone solo
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Robert M. Greenberg
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