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AUTRES
Vous avez sélectionné:
Vocal Part Only
Violoncelle
Partitions à imprimer
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Vocalise, - cello. E minor and C# minor versions, cello part only
Violoncelle
Cello Solo - Level 3 - Digital Download SKU: A0.812897 Composed by Sergei Rachmanin…
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Cello Solo - Level 3 - Digital Download SKU: A0.812897 Composed by Sergei Rachmaninoff. Arranged by Yellow Cello Music. 20th Century,Romantic Period. Individual part. 4 pages. Sheryl Smith #5299149. Published by Sheryl Smith (A0.812897). Cellists often play this in e minor, but I love it in c# minor! Pick your favorite, both versions are included. Cello part only; piano part is not included.
$1.99
1.86 €
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Violoncelle
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Sergei Rachmaninoff
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Yellow Cello Music
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piano part is not included
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Vocalise, - cello. E minor and C# minor versions, cello part only
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Sheryl Smith
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SheetMusicPlus
Rachmaninoff: Vocalise for Solo Cello ( 2 scores included / in 2 difficulty levels)
Violoncelle
Cello Solo - Level 3 - Digital Download SKU: A0.871399 Composed by Sergei Rachmanin…
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Cello Solo - Level 3 - Digital Download SKU: A0.871399 Composed by Sergei Rachmaninoff. Arranged by Clara Obsidian. Concert,Romantic Period,Wedding. Individual part. 4 pages. Clara Obsidian #6046627. Published by Clara Obsidian (A0.871399). Vocalise is a song by Sergei Rachmaninoff, composed and published in 1912 as the last of his 14 Songs or 14 Romances, Op. 34. Originally written for high voice (soprano or tenor) with piano accompaniment, it contains no words, but is sung using only one vowel of the singer's choosing.Perfect for recitals, gigs,weddings and the likes.Arranged for Cello Solo [Both Scores included]I: In original octave (Tenor Clef / Advance Intermediate)II: 1 octave lower (Bass Clef / Intermediate)See sample preview----------------
$3.99
3.73 €
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Violoncelle
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Sergei Rachmaninoff
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Clara Obsidian
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Rachmaninoff: Vocalise for Solo Cello
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Clara Obsidian
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
Violoncelle
Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by…
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Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published by jmsgu3 (A0.549203). Instrumentation: 8 Cellos arranged in two choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg. ea. 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.
$47.95
44.86 €
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Violoncelle
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
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jmsgu3
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SheetMusicPlus
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