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Saxes We Have Heard on High: Score
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
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COR ANGLAIS
CORNEMUSE
CORNET
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FLUTE TRAVERSI…
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Crtitères actifs :
Saxes We Have Heard on High: Score
SheetMusicPlus
Partitions à imprimer
7 partitions trouvées
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Saxes We Have Heard on High: Score
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Saxophone
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Methodes
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Michael Story
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Saxes We Have Heard on High: S
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Arranged by Michael Story. For Concert Band. Instructional. Score. 12 pages. Published by Alfred Music - Digital Sheet Music ...
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Arranged by Michael Story. For Concert Band. Instructional. Score. 12 pages. Published by Alfred Music - Digital Sheet Music
$9.00
ANGELS WE HAVE HEARD ON HIGH - SAXOPHONE TRIO (SAT) - unaccompanied
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Noël
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Noël
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Traditional French Melody
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Glen Poehlmann
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ANGELS WE HAVE HEARD ON HIGH -
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arrangements by GPoehlmann
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SheetMusicPlus
Small Ensemble Alto Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.807195 Composed by Traditional French Melody. Arranged by Glen Poehl...
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Small Ensemble Alto Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.807195 Composed by Traditional French Melody. Arranged by Glen Poehlmann. Christian,Christmas,Sacred. Score and parts. 11 pages. Arrangements by GPoehlmann #6508379. Published by arrangements by GPoehlmann (A0.807195). ANGELS WE HAVE HEARD ON HIGH - SAT SAXOPHONE TRIO (unaccompanied)A challenging, rhythmic and joyful arrangement of the popular Christmas Carol for 3 Saxes.74 measures. Performance Time approx. 2:30. Medium Difficult (Grade 4-)Key: F - F# - G - Ab - A - Bb (concert). Meter: 3/4 - 4/4 - 5/4. Instrument Ranges (C4=middle C):Soprano Saxophone C#4 - E6 (written). Alto Saxophone C4 - E6 (written). Tenor Saxophone C4 - D6 (written).PDF parts included: Score, Soprano Saxophone, Alto Saxophone, Tenor Saxophone. .
$5.00
Angels we have heard on high: E flat saxes (alto, baritone)/piano
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2 Saxophones (duo)
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DÉBUTANT
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Noël
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Traditional Christmas Carol
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Meri Dolevski
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Angels we have heard on high:
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Meri Dolevski
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Baritone Saxophone,Instrumental Duet - Level 1 - SKU: A0.817815 Composed by Traditional Christmas Carol. Arranged by Me...
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Instrumental Duet Alto Saxophone,Baritone Saxophone,Instrumental Duet - Level 1 - SKU: A0.817815 Composed by Traditional Christmas Carol. Arranged by Meri Dolevski. Christmas,Standards. Score and parts. 3 pages. Meri Dolevski #506901. Published by Meri Dolevski (A0.817815). A sheet music single from the same arranger's A Beginning Saxophone Christmas--E flat saxes.If you like this composition or arrangement, please let me know! Find me on Facebook or email me at mdolevskilewis@yahoo.ca
$12.99
Angels We Have Heard on High (Sax Trio: AAT)
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3 Saxophones (trio)
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INTERMÉDIAIRE
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Traditional French Carol, Edva
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John A
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Angels We Have Heard on High
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John A. Dempsey
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SheetMusicPlus
Saxophone Trio,Woodwind Ensemble Alto Saxophone,Tenor Saxophone - Level 3 - SKU: A0.1507279 Composed by Traditional French Carol, Edvard Grieg. Arranged...
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Saxophone Trio,Woodwind Ensemble Alto Saxophone,Tenor Saxophone - Level 3 - SKU: A0.1507279 Composed by Traditional French Carol, Edvard Grieg. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. 18 pages. John A. Dempsey #1082679. Published by John A. Dempsey (A0.1507279). Arranged as a lively sax trio for two alto saxes and tenor sax, this exultant arrangement of a traditional French Christmas carol contains variation in all three parts as well as dynamic shading, embellishments and incidental music by Grieg, all adding to the atmosphere of festive praise and joyful thanksgiving. Recommended for Christmas plays, pageants and programs, holiday recitals and Christmas concerts as well as traditional Christmas church services and other seasonal worship events. Suggested worship uses: prelude, postlude, offertory, interlude, Christmas play overture, special music and more. Concert Key: F major. 14 pages of music (that includes the score and separate two-page parts for alto sax 1, alto sax 2 and tenor sax).
$9.99
Hark, The Angels We Have Heard - Big Band & Choir
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Ensemble Jazz
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Bradley Sowash
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Bradley Sowash Music
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Hark, The Angels We Have Heard
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Bradley Sowash
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.750078 Composed by Bradley Sowash. Arranged by Bradley Sowash Music. Christmas,Jazz. Score and Parts. 93...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.750078 Composed by Bradley Sowash. Arranged by Bradley Sowash Music. Christmas,Jazz. Score and Parts. 93 pages. Bradley Sowash #20701. Published by Bradley Sowash (A0.750078). A funky medley of Hark, the Herald Angels Sing and Angels We Have Heard on High. Features: an improvised trumpet solo. (5:33) Instrumentation: 4 trpts., 4 trombones, 5 saxes, rhythm section and optional guitar with SATB choir. Could also be performed as instrumental with minor adjustments.
$45.00
Angels We Have Heard On High: B flat saxes
Tenor Sax,Soprano Sax
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Noël
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Traditional Christmas Carol
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Angels We Have Heard On High:
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Meri Dolevski
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SheetMusicPlus
Composed by Traditional Christmas Carol. Christmas. Score, Sheet Music Single, Solo Part. 3 pages. Published by Meri Dolevski (S0.89611). - Score,Sheet Music Si...
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Composed by Traditional Christmas Carol. Christmas. Score, Sheet Music Single, Solo Part. 3 pages. Published by Meri Dolevski (S0.89611). - Score,Sheet Music Single,Solo Part - Christmas - Meri Dolevski
$9.99
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. 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. Â
$47.95
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Saxes We Have Heard on High: Score