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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
Fort Erie
Non classifié
194
Piano & claviers
Piano seul
105
Piano Facile
33
Orgue
23
Piano, Voix
8
1 Piano, 4 mains
8
Piano, Voix et Guitare
6
Piano grosses notes
4
Clavier
4
2 Pianos, 4 mains
2
Piano Trio: piano, violon, violoncelle
1
Accordéon
1
+ 6 instrumentations
Retracter
Guitares
Guitare notes et tablatures
5
Guitare
3
Ligne De Mélodie, (Paroles) et Accords
1
2 Guitares (duo)
1
Voix
Chorale SATB
73
Chorale 3 parties
20
Chorale Unison
10
Chorale 2 parties
9
Voix Soprano, Piano
4
Chorale SSAA
4
Chorale TTBB
2
Voix Alto, Piano
1
Voix basse, Piano
1
+ 4 instrumentations
Retracter
Vents
Flûte traversière et Piano
10
2 Saxophones (duo)
10
Clarinette et Piano
9
Saxophone Alto et Piano
7
Quatuor de Saxophones: 4 saxophones
6
2 Clarinettes (duo)
6
Ensemble de Flûtes
5
Saxophone Tenor et Piano
4
Saxophone Baryton, Piano
4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
4
2 Flûtes traversières (duo)
4
Flûte, Violoncelle, Piano (trio)
3
Hautbois, Piano (duo)
3
Flûte traversière
2
Saxophone, Clarinette (duo)
2
Quatuor de Clarinettes: 4 clarinettes
2
Clarinette, Violon (duo)
2
Clarinette Basse, Piano
2
Hautbois (partie séparée)
2
Flûte, Violon
1
Flûte et Guitare
1
Hautbois, Basson (duo)
1
Flûte, Saxophone (duo)
1
Hautbois, Flûte
1
Quintette de Saxophone: 5 saxophones
1
Flûte, Trompette (duo)
1
2 Hautbois (duo)
1
Saxophone Alto
1
Clarinette, Trompette (duo)
1
Ensemble de saxophones
1
Saxophone (partie séparée)
1
Flûte à bec Soprano
1
Flûte, Hautbois, Clarinette, Basson
1
Flûte, Violoncelle
1
Clarinette, Guitare (duo)
1
Flûte, Alto (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Clarinette (duo)
1
Quatuor de Flûtes : 4 flûtes
1
Hautbois, Clarinette (duo)
1
+ 35 instrumentations
Retracter
Cuivres
Trompette, Piano
8
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Tuba et Piano
4
Cor et Piano
4
2 Trompettes (duo)
4
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
4
Trompette, violon (duo)
3
2 Trombones (duo)
3
Trompette, Saxophone (duo)
2
2 Cors (duo)
2
Euphonium, Piano (duo)
2
Quatuor de Cuivres
2
Ensemble de Trompettes
2
2 Tubas (duo)
2
Trompette, Trombone (duo)
1
4 Tubas
1
Trompette
1
2 Trompettes, Clavier (piano ou orgue)
1
3 Trompettes (trio)
1
Trombone et Piano
1
+ 15 instrumentations
Retracter
Cordes
Violon et Piano
13
Quatuor à cordes: 2 violons, alto, violoncelle
13
Violoncelle, Piano
11
Violon
9
Alto, Piano
8
2 Violons (duo)
5
Contrebasse, Piano (duo)
4
Trio à Cordes: 2 violons, violoncelle
3
Harpe
3
Harpe, Voix
3
Violon, Violoncelle (duo)
2
Violoncelle
2
Trio à Cordes: violon, alto, violoncelle
2
Harpe, Violon, Violoncelle
2
Violon, Alto (duo)
2
2 Altos (duo)
1
2 Violoncelles (duo)
1
+ 12 instrumentations
Retracter
Orchestre & Percussions
Batterie
39
Orchestre d'harmonie
27
Orchestre
14
Batterie (partie séparée)
12
Ensemble de cuivres
8
Cloches
7
Ensemble Jazz
5
Orchestre à Cordes
5
Ensemble de Percussions
2
Jazz combo
1
Orchestre de chambre
1
+ 6 instrumentations
Retracter
Autres
Formation musicale - Solfège
1
Instruments
ACCORDEON
ALTO
AUTRES INST…
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BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
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KLEZMER - JUIVE
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LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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Vous avez sélectionné:
Fort Erie
Quatuor de Saxophones: 4 saxophones
Partitions à imprimer
6 partitions trouvées
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1
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, bari
#
Quatuor de Saxophones: 4 saxophones
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Sebastian Bach
#
Paul Wehage
#
Johann Sebastian Bach/Wehage G
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532734 Composed by Johann Seb...
(+)
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532734 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 21 pages. Musik Fabrik Music Publishing #1917. Published by Musik Fabrik Music Publishing (A0.532734). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, sopr
#
Quatuor de Saxophones: 4 saxophones
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Sebastian Bach
#
Paul Wehage
#
Johann Sebastian Bach/Wehage G
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532735 Composed by Johann Seb...
(+)
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532735 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 24 pages. Musik Fabrik Music Publishing #1921. Published by Musik Fabrik Music Publishing (A0.532735). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, alto
#
Quatuor de Saxophones: 4 saxophones
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Sebastian Bach
#
Paul Wehage
#
Johann Sebastian Bach/Wehage G
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532733 Composed by Johann Seb...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532733 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 22 pages. Musik Fabrik Music Publishing #1919. Published by Musik Fabrik Music Publishing (A0.532733). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, teno
#
Quatuor de Saxophones: 4 saxophones
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Sebastian Bach
#
Paul Wehage
#
Johann Sebastian Bach/Wehage G
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532736 Composed by Johann Seb...
(+)
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532736 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 21 pages. Musik Fabrik Music Publishing #1923. Published by Musik Fabrik Music Publishing (A0.532736). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
$16.95
Carry On Wayward Son
#
Quatuor de Saxophones: 4 saxophones
#
Rock
#
Kansas
#
Michael Compton
#
Carry On Wayward Son
#
Kreechur Kumfort Publishing
#
SheetMusicPlus
Small Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - SKU: A0.833844 By Kansas. By Kerry Livgren. Arranged by Michael Com...
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Small Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - SKU: A0.833844 By Kansas. By Kerry Livgren. Arranged by Michael Compton. Rock. Score and parts. 34 pages. Kreechur Kumfort Publishing #4569747. Published by Kreechur Kumfort Publishing (A0.833844). Carry On Wayward Son, the hit single recorded by Kansas and written by Kerry Livgren for their 1976 album Leftoverture. In 1977, the song peaked at No. 11 on the US Billboard Hot 100, becoming their first top 20 entry in the nation. Carry On Wayward Son is considered the unofficial theme song of the TV series Supernatural, usually played during the recap before every season finale.
$18.00
Theme From "the A Team"
#
Quatuor de Saxophones: 4 saxophones
#
INTERMÉDIAIRE
#
Mike Post and Pete Carpenter
#
Diego Marani
#
Theme From "the A Team&qu
#
Diego Marani
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.527899 Composed by Mike Post ...
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.527899 Composed by Mike Post and Pete Carpenter. Arranged by Diego Marani. Contemporary,Film/TV,Instructional,Rock,Standards. 11 pages. Diego Marani #3577723. Published by Diego Marani (A0.527899). The A-Team is an American action-adventure television series that ran on NBC from 1983 to 1987 about former members of a fictitious United States Army Special Forces unit. The members, after being court-martialed for a crime they didn't commit, escaped from military prison and, while still on the run, worked as soldiers of fortune. The composers of the main theme are Mike Post and Pete Carpenter.This arrangement for sax quartet includes the following parts: Bb Soprano or Eb Alto (lead part), Eb Alto, Bb Tenor, Eb Baritone.It is suitable for classroom, repertoire and recital.
$16.99
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Fort Erie
