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3
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3
Piano Trio: piano, violon, violoncelle
2
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2
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1
2 Pianos, 4 mains
1
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23
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19
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18
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8
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3
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2
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1
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1
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134
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49
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45
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35
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24
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9
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6
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5
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5
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4
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4
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3
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3
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2
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2
Voix Tenor
1
Male Voice
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24
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16
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13
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13
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12
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11
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10
Saxophone Tenor et Piano
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7
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7
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6
2 Clarinettes (duo)
5
Saxophone Soprano et Piano
5
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3 Clarinettes (trio)
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2
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2
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Hautbois, Flûte
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Hautbois, Basson (duo)
1
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1
Saxophone
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18
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16
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12
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12
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11
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11
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10
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9
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9
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7
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Cor
7
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6
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5
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4
2 Trompettes (duo)
4
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4
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3
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1
2 Cors (duo)
1
Cor anglais, Piano
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1
2 Euphoniums et 2 Tubas
1
Quatuor de Cuivres
1
3 Trompettes (trio)
1
Quatuor de cuivres: 4 cors
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Euphonium
1
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Ensemble de Trombones
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
53
Violon et Piano
22
Harpe
20
Violoncelle, Piano
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Violon
18
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13
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10
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8
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Alto seul
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6
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5
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5
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3
2 Violoncelles (duo)
3
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2
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2
Trio à Cordes: 3 violoncelles
2
Trio à Cordes: 2 violons, alto
2
Piano Trio: Violon, Alto, Piano
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Trio à Cordes: 2 violons, violoncelle
2
Trio à cordes: 3 violins
2
2 Harpes (duo)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
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1
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1
Ensemble de Violons
1
2 Contrebasses (duo)
1
Ensemble d'Altos
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4 Violoncelles
1
2 Altos (duo)
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120
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9
Cloches
7
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3
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Strange Productions
Saxophone Baryton, Piano
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Vesper for Baritone Saxophone and Piano
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Saxophone Baryton, Piano
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AVANCÉ
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Bradley R Meholick
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Vesper for Baritone Saxophone
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Bradley R Meholick
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SheetMusicPlus
Baritone Saxophone,Piano - Level 5 - SKU: A0.991822 Composed by Bradley R Meholick. Christian,Concert,Contemporary,Standards. Score and part. 18 pages. ...
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Baritone Saxophone,Piano - Level 5 - SKU: A0.991822 Composed by Bradley R Meholick. Christian,Concert,Contemporary,Standards. Score and part. 18 pages. Bradley R Meholick #3456539. Published by Bradley R Meholick (A0.991822). Vesper for Baritone Saxophone and Piano is a dark modal work intended for advanced performers. In beginning this work, I attempted to create a dark and beautiful melody in several lesser explored modes. While by itself the melody is quite interesting, the addition of the piano accompaniment and the setting make the strange feel more familiar. As the piece moves into the middle section, the melody and harmony also move to a more familiar major setting. Although dark in nature, the playful melody is meant to display a solemn beauty much like an old orthodox vesper. Please check out my other pieces on my publisher page and at BMMcreate.com.
$4.99
Scriabin: Prelude Op. 11 No. 2 for Baritone Sax & Piano
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Saxophone Baryton, 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
Baritone Saxophone,Piano - Level 3 - SKU: A0.549468 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic ...
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Baritone Saxophone,Piano - Level 3 - SKU: A0.549468 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499757. Published by jmsgu3 (A0.549468). 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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