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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
Seven\'s The One - Trombone 4
Non classifié
61
Piano & claviers
Piano seul
65
Piano, Voix
21
1 Piano, 4 mains
8
Instruments en Do
3
Piano Facile
3
Piano Trio: piano, violon, violoncelle
2
Orgue
2
Piano, Voix et Guitare
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Orgue, Trompette (duo)
1
2 Pianos, 4 mains
1
+ 6 instrumentations
Retracter
Guitares
4 Guitares (Quatuor)
3
Guitare notes et tablatures
1
Guitare
1
Voix
Chorale SATB
14
Chorale TTBB
5
Voix duo, Piano
2
Chorale 3 parties
2
Voix Soprano, Piano
1
Vents
Quatuor de Saxophones: 4 saxophones
32
Saxophone (partie séparée)
13
Flûte traversière et Piano
13
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
10
2 Saxophones (duo)
9
Hautbois, Piano (duo)
9
Quatuor de Flûtes : 4 flûtes
8
Clarinette et Piano
8
Quatuor de Clarinettes: 4 clarinettes
8
Saxophone Alto et Piano
6
Saxophone Tenor et Piano
5
Clarinette
4
Saxophone Baryton, Piano
4
Saxophone, Clarinette (duo)
3
Saxophone Tenor
3
2 Clarinettes (duo)
3
Hautbois (partie séparée)
3
Clarinette (partie séparée)
3
Saxophone Soprano et Piano
3
Cor anglais, Piano
3
Saxophone Alto
3
3 Saxophones (trio)
2
Clarinette, Violon (duo)
2
Ensemble de Clarinettes
2
2 Flûtes traversières (duo)
2
Quintette de Saxophone: 5 saxophones
2
Ensemble de Flûtes
2
Quintette de Clarinettes: 5 clarinettes
2
Clarinette, Trompette (duo)
2
Clarinette Basse, Piano
2
Flûte, Alto (duo)
1
Flûte, Saxophone (duo)
1
Flûte, Trompette (duo)
1
Flûte, Clarinette (duo)
1
Ensemble De Flûte à bec
1
Flûte traversière
1
Flute (partie séparée)
1
Trio de Flûtes: 3 flûtes
1
Flûte, Violon
1
Hautbois, Clarinette (duo)
1
Hautbois, Basson (duo)
1
2 Hautbois (duo)
1
Clarinette et Alto
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Hautbois, Clarinette, Basson
1
Hautbois, Flûte
1
Quatuor de Flûtes à bec
1
+ 42 instrumentations
Retracter
Cuivres
Trompette (partie séparée)
7
Euphonium, Piano (duo)
6
Trompette
4
Cor et Piano
3
Cor anglais, Piano
3
Trompette, Saxophone (duo)
2
2 Trompettes (duo)
2
Cor (partie séparée)
2
Tuba (partie séparée)
1
Tuba et Piano
1
Ensemble de Trompettes
1
+ 6 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
14
Violon
5
Violon et Piano
5
Trio à Cordes: violon, alto, violoncelle
4
Violoncelle, Piano
3
2 Violoncelles (duo)
3
Alto, Piano
3
Violon (partie séparée)
2
Alto (partie séparée)
2
Violoncelle
2
2 Violons (duo)
1
Violon, Alto (duo)
1
Contrebasse, Piano (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
4 Violoncelles
1
Harpe
1
2 Altos (duo)
1
Piano Trio: Violon, Alto, Piano
1
Contrebasse (partie séparée)
1
Alto seul
1
Violon, Violoncelle (duo)
1
+ 16 instrumentations
Retracter
Orchestre & Percussions
Ensemble Jazz
12
Cloches
8
Orchestre à Cordes
5
Orchestre d'harmonie
3
Orchestre de chambre
3
Orchestre
2
Percussion (partie séparée)
2
Batterie
2
Ensemble de cuivres
1
+ 4 instrumentations
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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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Vous avez sélectionné:
Seven\'s The One - Trombone 4
Partitions à imprimer
512 partitions trouvées
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Seven's The One - Baritone Sax
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Saxophone (partie séparée)
#
INTERMÉDIAIRE/AVANCÉ
#
Jazz
#
Mark Taylor
#
Seven's The One - Baritone Sax
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Hal Leonard - Digital
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488693 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. P...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488693 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.488693).
$6.00
Schubert: Ave Maria for Baritone Sax & Piano
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Saxophone Baryton, Piano
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DÉBUTANT
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Classique
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Franz Schubert
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James M
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Schubert: Ave Maria for Barito
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jmsgu3
#
SheetMusicPlus
Baritone Saxophone,Piano - Level 1 - SKU: A0.548692 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score a...
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Baritone Saxophone,Piano - Level 1 - SKU: A0.548692 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and part. 4 pages. Jmsgu3 #3411133. Published by jmsgu3 (A0.548692). A Baritone Sax Christmas/Easter classic! Duration: 4:55 Score: 3 pg. Baritone Sax part: 1 pg. Piano reads from the score. Schubert seems to have composed this piece as a song-setting. This is because he wanted to portray a poignant emotional event from a poem. The poem was Walter Scott's The Lady of the Lake. Consequently, this song became an integral part of Schubert's Song cycle. Therefore the cycle is called: the Lady of the Lake. In the poem, Ellen Douglas is the Lady of the Lake. The lake is probably Loch Katrine in the Scottish Highlands. First of all, Ellen goes with her father to stay in the Goblin's cave. They go because he earlier refused to join in a rebellion against King James. Roderick Dhu, the chief of the rebellious Alpine Clan, marches up the mountain with his army. But before the battle, he, first of all, hears Ellen singing. She is singing a prayer calling for help from the Virgin Mary. Schubert's piece was first performed at the castle of Countess Sophie Weissenwolff in Steyregg, Austria.  Schubert dedicated the arrangement to her, and as a result, she became famous as the lady of the lake.The incipit of Ellen's song is Ave Maria which is Latin for Hail Mary. It seems like this similarity led Schubert to adapt the melody to accommodate the Roman Catholic prayer Ave Maria. Consequently, the Latin version of Ave Maria finally became more famous than the original so that consequently many believe he wrote the Latin version first. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$29.95
Seven's The One - Tenor Sax 2
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Saxophone (partie séparée)
#
INTERMÉDIAIRE/AVANCÉ
#
Jazz
#
Mark Taylor
#
Seven's The One - Tenor Sax 2
#
Hal Leonard - Digital
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488692 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. P...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488692 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.488692).
$6.00
Seven's The One - Alto Sax 2
#
Saxophone (partie séparée)
#
INTERMÉDIAIRE/AVANCÉ
#
Jazz
#
Mark Taylor
#
Seven's The One - Alto Sax 2
#
Hal Leonard - Digital
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488690 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. P...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488690 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.488690).
$6.00
Seven's The One - Tenor Sax 1
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Saxophone (partie séparée)
#
INTERMÉDIAIRE/AVANCÉ
#
Jazz
#
Mark Taylor
#
Seven's The One - Tenor Sax 1
#
Hal Leonard - Digital
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488691 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. P...
(+)
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488691 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.488691).
$6.00
Seven's The One - Alto Sax 1
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Saxophone (partie séparée)
#
INTERMÉDIAIRE/AVANCÉ
#
Jazz
#
Mark Taylor
#
Seven's The One - Alto Sax 1
#
Hal Leonard - Digital
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488689 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. P...
(+)
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488689 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.488689).
$6.00
Oot-kwa-tah, Dance of the Seven Sisters
#
Orchestre d'harmonie
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Brett L
#
Oot-kwa-tah, Dance of the Seve
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Sonata Grendel Publishing
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.837514 Composed by Brett L. Wery. Contemporary. Score and parts. 124 pages. Sonata Grendel Publishing #6748213. Publish...
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Concert Band - Level 4 - SKU: A0.837514 Composed by Brett L. Wery. Contemporary. Score and parts. 124 pages. Sonata Grendel Publishing #6748213. Published by Sonata Grendel Publishing (A0.837514). Note: for best results, print the score (first 38 pages) on 8.5 X 14 (legal) sized paper and print the parts on 8.5 X 11 (letter) sized paper. M45 is the Messier catalog number for an open star cluster better known as the Pleiades. Oot-kwa-tah is dedicated to Schenectady County Community College on the forty-fifth anniversary of the college’s establishment as part of the State University of New York. The college sits on land that was once part of the Mohawk nation of the Iroquois Confederacy. Oot-kwa-tah is inspired by the Iroquois legend of M45, the Pleiades star cluster. The Iroquois tell a story about seven children who met each day and danced for hours at a time instead of doing chores. An old man appeared to them one day as they danced. He shone magnificently like silver and was clad from head to toe in brilliant white feathers. The old man warned them to stop dancing lest something terrible happen to them. Ignoring the old man’s warning and growing more and more hungry and lightheaded the children began to rise into the air. If only they had listened to me, the old man thought. As the children’s parents gathered, one little boy heard his father’s voice below. The little boy looked down and saw his father. At that instant he fell back to earth. The other children continued to float higher and higher into the sky to become the Pleiades star cluster.The Iroquois call them Oot-kwa-tah and are reminded of these reckless children each time they see a falling star.
$40.75
Mendelssohn: Wedding March for Baritone Sax & Piano
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Saxophone Baryton, Piano
#
INTERMÉDIAIRE
#
Classique
#
Felix Bartholdy Mendelssohn
#
James M
#
Mendelssohn: Wedding March for
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jmsgu3
#
SheetMusicPlus
Baritone Saxophone,Piano - Level 3 - SKU: A0.549893 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standa...
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Baritone Saxophone,Piano - Level 3 - SKU: A0.549893 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Standards,Wedding. Score and part. 23 pages. Jmsgu3 #3603411. Published by jmsgu3 (A0.549893). Score: 12 pages, piano part: 6 pages, baritone sax part: 4 pages. duration: ca. 5'. Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuosity at the keyboard but found his music rather insubstantial.Register for free lifetime revisions and updates at www.jamesguthrie.com &n.
$24.95
Mendelssohn: Song Without Words Op. 109 for Baritone Sax & Piano
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Saxophone Baryton, Piano
#
INTERMÉDIAIRE
#
Felix Mendelssohn
#
James M
#
Mendelssohn: Song Without Word
#
jmsgu3
#
SheetMusicPlus
Baritone Saxophone,Piano - Level 3 - SKU: A0.549490 Composed by Felix Mendelssohn (1809 –1847. Arranged by James M. Guthrie, ASCAP. Instructional...
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Baritone Saxophone,Piano - Level 3 - SKU: A0.549490 Composed by Felix Mendelssohn (1809 –1847. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 20 pages. Jmsgu3 #3500665. Published by jmsgu3 (A0.549490). BARITONE SAX & PIANO - Score: 11 pages, solo part: 3 pages, piano part: 5 pages. Duration: 4:20. This is a popular recital piece that would work well also in church or school programs. Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician, and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was suddenly baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his significant works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his systematic mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuosity at the keyboard but found his music rather insubstantial.
$32.95
Remember What Is Lost (from the "Remember-Waltzes")
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1 Piano, 4 mains
#
FACILE
#
Ulrich Lehensteiner
#
Remember What Is Lost
#
Ulrich Lehensteiner
#
SheetMusicPlus
1 Piano,4 Hands,Piano Duet - Level 2 - SKU: A0.1494204 Composed by Ulrich Lehensteiner. 21st Century,Classical,Contemporary. Score. 23 pages. Ulrich Leh...
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1 Piano,4 Hands,Piano Duet - Level 2 - SKU: A0.1494204 Composed by Ulrich Lehensteiner. 21st Century,Classical,Contemporary. Score. 23 pages. Ulrich Lehensteiner #1070815. Published by Ulrich Lehensteiner (A0.1494204). Remember What Is Lost, being the finale of the Remember-Waltzes, recapitulates all the previous waltzes' themes, slowly restoring them one by one and interweaving them with an original theme before coming to a grandiose, concert-like conclusion. Musically demonstrating how precious memories are (after maybe even having been forgotten for some time) still remembered after many years, the cycle ends on a positive and hopeful note.The Remember-Waltzes are a collection of seven waltz-like pieces for piano four hands, depicting the memories of various relatable scenes of a person's everyday-life, like the fervour of a determined loved one, the sereneness of a warm summer-day or the emotional rush of an ecstatic experience. Memories some would like to experience, some might actually have experienced.A musical reminder of times fondly remembered, but also of the feeling of how even those precious moments might grow pale over time, and how we still remember them fondly, but differently after the many years that might have passed since then.Contains score + parts.
$8.99
Johann Sebastian Bach/Wehage Goldberg Variations, BWV 988, - SATB saxophone Quartet, bari
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Paul Wehage
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Johann Sebastian Bach/Wehage G
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Musik Fabrik Music Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532734 Composed by Johann Seb...
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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
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Paul Wehage
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Johann Sebastian Bach/Wehage G
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Musik Fabrik Music Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532735 Composed by Johann Seb...
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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
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Paul Wehage
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Johann Sebastian Bach/Wehage G
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Musik Fabrik Music Publishing
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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
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Paul Wehage
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Johann Sebastian Bach/Wehage G
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Musik Fabrik Music Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.532736 Composed by Johann Seb...
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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
Overture for Strings No. 4 - Score Only
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Joseph Bologne, Chevalier de S
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Robert Debbaut
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Overture for Strings No. 4 - S
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ROBERT DEBBAUT
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1183535 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festiva...
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String Orchestra - Level 4 - SKU: A0.1183535 Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 34 pages. ROBERT DEBBAUT #783208. Published by ROBERT DEBBAUT (A0.1183535). How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,†or to marry outside his class.There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour†[up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfoniaâ€) in that they have an overall “A-B-A†form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.†As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.†Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.
$9.99
Seven's The One - Trumpet 4
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Trompette (partie séparée)
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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Mark Taylor
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Seven's The One - Trumpet 4
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Hal Leonard - Digital
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488697 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. P...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488697 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.488697).
$6.00
Seven's The One - Trumpet 2
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Trompette (partie séparée)
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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Mark Taylor
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Seven's The One - Trumpet 2
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Hal Leonard - Digital
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488695 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. P...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488695 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.488695).
$6.00
Seven's The One - Trumpet 1
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Trompette (partie séparée)
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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Mark Taylor
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Seven's The One - Trumpet 1
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Hal Leonard - Digital
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488694 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. P...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488694 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.488694).
$6.00
Seven's The One - Trumpet 3
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Trompette (partie séparée)
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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Mark Taylor
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Seven's The One - Trumpet 3
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Hal Leonard - Digital
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488696 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. P...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: HX.488696 Composed by Mark Taylor. This edition: scorch. Concert,Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.488696).
$6.00
Saxophone Quartet "Ave Maria" by Schubert (score & parts)
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE
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Francesco Leone
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Francesco Leone
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Saxophone Quartet "Ave Ma
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Glissato Edizioni Musicali
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.1509913 By Francesco Leone. ...
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.1509913 By Francesco Leone. By Franz Schubert. Arranged by Francesco Leone. Sacred. 22 pages. Glissato Edizioni Musicali #1085120. Published by Glissato Edizioni Musicali (A0.1509913). Ave Maria by Franz Schubert, transcribed for Saxophone Quartet SATB (intermediate level) by Francesco Leone. This includes the score and parts for all four saxophones: soprano, alto, tenor, and baritone. You can listen to an audio demo on www.glissato.it.multiple languages including: English, French, German, Spanish, Italian, Portuguese, Korean, Japanese, and Chinese.These translations provide readers with invaluable insights into the content and its cultural context, ensuring a comprehensive and enriching experience for musicians across the globe.Ellens dritter Gesang (Ellens Gesang III, D. 839, Op. 52, No. 6, 1825), in English: Ellen's Third Song, was composed by Franz Schubert in 1825 as part of his Op. 52, a setting of seven songs from Walter Scott's popular narrative poem The Lady of the Lake.It is one of Schubert's most popular works. Beyond the song as originally composed by Schubert, it is often performed and recorded by many singers (Joan Baez, Stevie Wonder, José Carreras, Luciano Pavarotti, Andrea Bocelli, Barbra Streisand and many more) under the title Ave Maria.- saxofono quartetto, quatuor de saxophones, Saxophonquartett, cuarteto de saxofones, quarteto de saxofones, kwartet saksofonowy, szaxofon kvartett, smyčcový kvartet, cvartet de saxofon, saxofoonkwartet, saxofonkvartett, saksofonkvartett, saxofonkvartet, квартет саксофонов, 萨克斯风四重奏, サックスフォンカルテット, 사소폰 콰르텟, رباعي الساكسفون, saksofon dörtlüsü, τετραμελές σαξόφωνο -.
$13.99
Joy, Joy, Everyone Is Flying - Easy Trumpet Duet
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2 Trompettes (duo)
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FACILE
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including more of the modern d
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Eddie Lewis
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Joy, Joy, Everyone Is Flying -
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Tiger Music
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SheetMusicPlus
Trumpet Duet Trumpet - Level 2 - SKU: A0.1088949 Composed by Eddie Lewis. Classical,Contemporary,Instructional. Score. 4 pages. Tiger Music #693161. Pub...
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Trumpet Duet Trumpet - Level 2 - SKU: A0.1088949 Composed by Eddie Lewis. Classical,Contemporary,Instructional. Score. 4 pages. Tiger Music #693161. Published by Tiger Music (A0.1088949). Give your students something modern to work on. Joy, Joy, Everyone Is Flying trumpet duet uses a modern compositional technique. Joy, Joy Everyone Is Flying trumpet duet is actually part of my recent modern composition series. The idea was to see if I could write one of those compositions for trumpet duet with Trumpet Tyro limitations. Being composed from a nontraditional technique, Joy, Joy, Everyone Is Flying does not sound like the typical “do re mi†beginner band music. As an educational piece, it serves as a wonderful opportunity to expose the students to exotic sounds. The piece begins like a traditional imitative piece, but you soon hear a non-traditional modality. That modality is emphasized in the B section with grace notes that give it an eastern hint. Joy, Joy, Everyone Is Flying is a short duet, lasting under a minute. This is because it is written for students who were beginners only months ago. Other Duet Books I have published similar duets to this one in my two other duet books for this level. The first and most popular is Celebrations which has trumpet duets for all skill levels. The second, which has some of the Celebrations duets, is called Twenty Trumpet Tyro Duets. In the trumpet community we use duets as educational tools. They are a wonderful way to expose students to counterpoint, different harmonies and different rhythmic ideas. By including more of the modern duets in the easier duet books, the younger students have an opportunity to experience non-traditional music in what is essentially a chamber music environment. The Experimental Music Series I’ve published a number of these experimental works for trumpet and brass instrumentations. The newer ones were in response to the popularity of the fishing suites. I had gone years without writing any of these compositions and wanted to apply the techniques to trumpet trio. The fishing suites are a suite of suites, each suite being dedicated to a different composition technique. Of those three suites, Catch Suite is the one that uses the same technique as Joy, Joy, Everyone Is Flying. Other compositions utilizing this compositional technique include The Lotus Eater and Voice of the Prophets. SKILL LEVEL The skill level for Joy, Joy, Everyone Is Flying is Trumpet Tyro. Trumpet Tyro is the second of seven levels in our system. This is music for trumpet students with a range up to fourth space E. The music in this level is limited to three flats or sharps. We almost bumped this piece up into the Trumpet Player level because of all the accidentals, but eventually decided to keep it in the Trumpet Tyro level. Technically, the accidentals all fall within acceptable keys for this level, so we kept it at the lower level. That said, because it is non-traditional, it will take a little longer to learn. The melodic sounds will not come as readily as the traditional “do re mi†stuff. Practice Recommendations Listening to the recording is a very important part of learning something with new sounds. You want to be able to hear those sounds. Here’s an interesting bit of trivia for you… When I am using one of these original compositional techniques, I know when I’ve made a mistake because I can hear that it sounds different. I believe this is the sign of a technique that works. If there’s a mistake, the composer should be able to hear that there’s something wrong. Well, performing music that utilizes these sorts of non-traditional techniques goes far better when the performers can also hear the music that way.
$4.99
It's Been A Long, Long Time
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Trompette, Saxophone (duo)
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INTERMÉDIAIRE
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Contemporain
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Jule Styne
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David McKeown
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It's Been A Long, Long Time
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David McKeown
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Instrumental Duet,Trumpet - Level 3 - SKU: A0.592517 Composed by Jule Styne. Arranged by David McKeown. Contemporary. S...
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Instrumental Duet Alto Saxophone,Instrumental Duet,Trumpet - Level 3 - SKU: A0.592517 Composed by Jule Styne. Arranged by David McKeown. Contemporary. Score and parts. 4 pages. David McKeown #6366155. Published by David McKeown (A0.592517). It’s Been a Long Long Time is arranged as a duet for one Trumpet and one Alto Saxophone.It’s Been a Long Long Time is best known to modern audiences as the song at the end Avengers: Endgame, where Steve Rogers, after seventy years, finally gets to dance with Peggy Carter. The song of course, is much older. Two versions of It’s Been a Long Long Time topped the charts in late 1945, and as US servicemen returned from Europe and the Pacific, it perfectly caught the mood of the times. One version was by Bing Crosby, and the other by the Harry James Orchestra featuring Kitty Kallen on vocals. It is the latter version that is heard in Endgame and the one that forms the basis of this arrangement.Musicians at an intermediate standard will find It’s Been a Long Long Time ideal for formal and informal concert performances. with both parts enjoying plenty of melodic interest. The overall performance time is just over two and a half minutes. Click the link above to listen to a full performance of the clarinet version on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$5.99
It's Been A Long, Long Time
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Saxophone, Clarinette (duo)
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INTERMÉDIAIRE
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Contemporain
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Jule Styne
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David McKeown
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It's Been A Long, Long Time
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David McKeown
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SheetMusicPlus
Instrumental Duet Clarinet,Instrumental Duet,Tenor Saxophone - Level 3 - SKU: A0.592491 Composed by Jule Styne. Arranged by David McKeown. Contemporary....
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Instrumental Duet Clarinet,Instrumental Duet,Tenor Saxophone - Level 3 - SKU: A0.592491 Composed by Jule Styne. Arranged by David McKeown. Contemporary. Score and parts. 4 pages. David McKeown #6366091. Published by David McKeown (A0.592491). It’s Been a Long Long Time is arranged as a duet for one Clarinet and one Tenor Saxophone. It’s Been a Long Long Time is best known to modern audiences as the song at the end Avengers: Endgame, where Steve Rogers, after seventy years, finally gets to dance with Peggy Carter. The song of course, is much older. Two versions of It’s Been a Long Long Time topped the charts in late 1945, and as US servicemen returned from Europe and the Pacific, it perfectly caught the mood of the times. One version was by Bing Crosby, and the other by the Harry James Orchestra featuring Kitty Kallen on vocals. It is the latter version that is heard in Endgame and the one that forms the basis of this arrangement.Musicians at an intermediate standard will find It’s Been a Long Long Time ideal for formal and informal concert performances. with both parts enjoying plenty of melodic interest. The overall performance time is just over two and a half minutes. Click the link above to listen to a full performance of the clarinet version on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$5.99
It's Been A Long, Long Time
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Saxophone, Clarinette (duo)
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INTERMÉDIAIRE
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Contemporain
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Jule Styne
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David McKeown
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It's Been A Long, Long Time
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David McKeown
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SheetMusicPlus
Instrumental Duet Clarinet,Instrumental Duet,Soprano Saxophone - Level 3 - SKU: A0.592512 Composed by Jule Styne. Arranged by David McKeown. Contemporar...
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Instrumental Duet Clarinet,Instrumental Duet,Soprano Saxophone - Level 3 - SKU: A0.592512 Composed by Jule Styne. Arranged by David McKeown. Contemporary. Score and parts. 4 pages. David McKeown #6366145. Published by David McKeown (A0.592512). It’s Been a Long Long Time is arranged as a duet for one Soprano Saxophone and one ClarinetIt’s Been a Long Long Time is best known to modern audiences as the song at the end Avengers: Endgame, where Steve Rogers, after seventy years, finally gets to dance with Peggy Carter. The song of course, is much older. Two versions of It’s Been a Long Long Time topped the charts in late 1945, and as US servicemen returned from Europe and the Pacific, it perfectly caught the mood of the times. One version was by Bing Crosby, and the other by the Harry James Orchestra featuring Kitty Kallen on vocals. It is the latter version that is heard in Endgame and the one that forms the basis of this arrangement.Musicians at an intermediate standard will find It’s Been a Long Long Time ideal for formal and informal concert performances. with both parts enjoying plenty of melodic interest. The overall performance time is just over two and a half minutes. Click the link above to listen to a full performance of the clarinet version on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$5.99
It's Been A Long, Long Time
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Flûte, Saxophone (duo)
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INTERMÉDIAIRE
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Contemporain
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Jule Styne
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David McKeown
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It's Been A Long, Long Time
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David McKeown
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Flute,Instrumental Duet - Level 3 - SKU: A0.592499 Composed by Jule Styne. Arranged by David McKeown. Contemporary. Sco...
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Instrumental Duet Alto Saxophone,Flute,Instrumental Duet - Level 3 - SKU: A0.592499 Composed by Jule Styne. Arranged by David McKeown. Contemporary. Score and parts. 4 pages. David McKeown #6366111. Published by David McKeown (A0.592499). It’s Been a Long Long Time is arranged as a duet for one Flute and one Alto Saxophone. It’s Been a Long Long Time is best known to modern audiences as the song at the end Avengers: Endgame, where Steve Rogers, after seventy years, finally gets to dance with Peggy Carter. The song of course, is much older. Two versions of It’s Been a Long Long Time topped the charts in late 1945, and as US servicemen returned from Europe and the Pacific, it perfectly caught the mood of the times. One version was by Bing Crosby, and the other by the Harry James Orchestra featuring Kitty Kallen on vocals. It is the latter version that is heard in Endgame and the one that forms the basis of this arrangement.Musicians at an intermediate standard will find It’s Been a Long Long Time ideal for formal and informal concert performances. with both parts enjoying plenty of melodic interest. The overall performance time is just over two and a half minutes. Click the link above to listen to a full performance of the clarinet version on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$5.99
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