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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
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HAUTBOIS
LIVRES
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MANDOLINE
MARIMBA
OCARINA
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PERCUSSION
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SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Second Ragtime Sonata
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Piano & claviers
Piano seul
2
2 Pianos, 4 mains
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AUTRES INST…
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BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
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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 …
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PERCU. ORCH…
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SAXOPHONE
SYNTHE
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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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ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
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CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
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EGLISE - SACRE
ENFANTS : EVEIL - IN…
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FILM WALT DISNEY
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
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…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
Second Ragtime Sonata
Partitions à imprimer
6 partitions trouvées
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Second Ragtime Sonata (Piano Sonata no. 12)
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Piano seul
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AVANCÉ
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Contemporain
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Richard St
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Scherzo, Quite Fast
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Second Ragtime Sonata
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Richard St. Clair
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.939822 Composed by Richard St. Clair. 20th Century,Concert,Contemporary. Score. 21 pages. Richard St. Clair #4839299. Pub...
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Piano Solo - Level 5 - SKU: A0.939822 Composed by Richard St. Clair. 20th Century,Concert,Contemporary. Score. 21 pages. Richard St. Clair #4839299. Published by Richard St. Clair (A0.939822). This piano sonata (duration ca. 14:30) is both classical ragtime in style and is structured in a classical sonata format in four movements, Lively, not too Fast; Scherzo, Quite Fast; Adagio; Rather Fast. For those who love classical ragtime, this work will satisfy. For those interested in classical sonata-form, this sonata will be of interest. This music will fit into any classical recital, and is appropriate for popular music venues.
$20.00
Guitar Sonata No. 5 in G major (open G tuning)
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Guitare
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AVANCÉ
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Contemporain
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Jeremiah Lawson
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Guitar Sonata No. 5 in G major
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Jeremiah Lawson
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.985325 Composed by Jeremiah Lawson. Contemporary. Individual part. 9 pages. Jeremiah Lawson #6012233. Published by Jerem...
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Solo Guitar - Level 5 - SKU: A0.985325 Composed by Jeremiah Lawson. Contemporary. Individual part. 9 pages. Jeremiah Lawson #6012233. Published by Jeremiah Lawson (A0.985325). Guitar Sonata No. 5 in G major is open G tuning. It is in three movements and performance time is abut 10 to 10:15. Movements 1 and 3 are to be played using a glass or bronze slide worn on the fourth finger. The movements are:1. Hobo Spider Blues2. Ragged) and Sor(e) (after Sor's Op. 29, 10)3. Ricardo de YakimaThe first movement is a set of bottleneck technique variations on an original blues theme. Each variation explores different timbrel possibilities such as ordinary tone, pizzicato, sul tasto, and ponticello before recapitulating the original form of the blues theme.The second movement reconceives Sor's study in E flat from his Op. 29 as a ragtime sonata form, with a developmental intrusion from another Sor etude. This ragtime sonata leads attaca into the final movement.The third movement is another set of variations, this time on a two-step dance theme cast in the form of a menuet. It was common in early 19th century guitar sonatas to end with a menuet and so I opted to end with a menuet with variations. In sharp contrast to my first guitar sonata, which drew inspiration from late Beethoven piano sonatas and late Shostakovich string quartets, the inspirations here were Muddy Waters, Fernando Sor, Scott Joplin, Johnny Cash, and Don Helms.This sonata was also recorded by Daniel Estrem on Estrem Plays Lawson, which was released through Magnatune in 2016. .
$9.95
Piano Sonata No.2
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Piano seul
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AVANCÉ
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Stephen Keeling
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Piano Sonata No.2
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Stephen Keeling
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1115623 By Stephen Keeling. By Stephen Keeling. 20th Century,Contemporary,Ragtime. Score. 20 pages. Stephen Keeling #7173...
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Piano Solo - Level 5 - SKU: A0.1115623 By Stephen Keeling. By Stephen Keeling. 20th Century,Contemporary,Ragtime. Score. 20 pages. Stephen Keeling #717393. Published by Stephen Keeling (A0.1115623). My second piano sonata. A slow introduction leads into a brisk first movement followed by a lyrical Cavatina slow movement built over a passacaglia bass, a scherzo and then a Ragtime finale. The mp3 plays back the whole sonata.
$3.99
Sonata for banjo and guitar
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Contemporain
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Jeremiah Lawson
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Sonata for banjo and guitar
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Jeremiah Lawson
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SheetMusicPlus
Instrumental Duet Banjo,Guitar,Instrumental Duet - Level 4 - SKU: A0.985326 Composed by Jeremiah Lawson. Contemporary. Score and parts. 14 pages. Jeremi...
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Instrumental Duet Banjo,Guitar,Instrumental Duet - Level 4 - SKU: A0.985326 Composed by Jeremiah Lawson. Contemporary. Score and parts. 14 pages. Jeremiah Lawson #6013867. Published by Jeremiah Lawson (A0.985326). This is a 14 page work in three movements that has a performance time of roughly 12:30 to 13:30. I composed this sonata back in 2012 and it was given a filmed premiere by Brett Parnell on banjo and Daniel Corr on guitar.The first movement is a sonata form that opens in G minor and ends in G major. The second movement is a set of variations on an old shape note tune known as Star in the East, and the third movement is a five-part rondo that recapitulates themes from the first and second movements. This sonata is part of a larger cycle of chamber sonatas I have been composing since 2000 which began with my sonata for flute and guitar and pairs the guitar up with woodwinds, strings and brass. The over-arching concept that guides the chamber sonata cycle as I've been working on it is to draw upon Haydn and Clementi's monothematic sonata forms as a template for synthesizing 18th century galant era processes of gestural development with American vernacular and popular styles, often from the age of ragtime up through to the 1940s and beyond.
$10.00
Sonata Hymnica No. 6
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 6
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James Siddons Music and Writings
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak of standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms, the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well as percussive polyrhythms.
$10.00
Suite For Clarinet
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Clarinette et Piano
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INTERMÉDIAIRE/AVANCÉ
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Caleb M
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Suite For Clarinet
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C.M.Brandon
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SheetMusicPlus
B-Flat Clarinet,Piano - Level 4 - SKU: A0.1225338 Composed by Caleb M. Brandon. 20th Century,Chamber,Classical,Instructional,Traditional. Score and part...
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B-Flat Clarinet,Piano - Level 4 - SKU: A0.1225338 Composed by Caleb M. Brandon. 20th Century,Chamber,Classical,Instructional,Traditional. Score and part. 32 pages. C.M.Brandon #821427. Published by C.M.Brandon (A0.1225338). A three movement suite which highlights the versatility of the clarinet. In the Tradition – An enjoyable piece written in the “textbook†Sonata form. One will be able to find an Introduction, Primary Theme, Transition, Secondary theme, Closing Theme, Development, and the Recapitulation. The classical styling showcases the clarinet’s versatility, range, and colors. In the Tinnabular – This melancholy piece explores the minimalist style of composition invented by Arvo Pärt called tintinnabuli. The two voice types characterized in this method (‘tintinnabular’ arpeggiating voice/the stepwise diatonic voice) are found in the piano while the clarinet adds a melody. Both of these voices expand, note by note, over time. In the Time of Rag – A lively and entertaining piece in the ‘ragtime’ style. Performers are encouraged to improvise, as was customary for these pieces. The drum set is not necessary but does add a great dimension to the music. From my research, I believe the style of drumming needed is “2nd line drummingâ€. The high hat and snare notation is meant to simulate the beats using brushes, rather than sticks, on the snare while maintaining the march rhythms. Washboards, tambourines, and the like could be incorporated at the discretion of the percussionist. Dynamic levels of the drums should not overtake the clarinet and piano but enhance the overall performance.
$2.99
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Second Ragtime Sonata
