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You've selected:
La Tarde
Sheetmusic to print
8 sheet music found
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1
Vals para la tarde, quinteto de flautas
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Bruno Tapia
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Vals para la tarde, quinteto d
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Bruno Tapia
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SheetMusicPlus
Small Ensemble Flute - Level 2 - Digital Download SKU: A0.924600 Composed by Bruno Tapia. Children,Contemporary,Romantic Period,Wedding. Score and parts....
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Small Ensemble Flute - Level 2 - Digital Download SKU: A0.924600 Composed by Bruno Tapia. Children,Contemporary,Romantic Period,Wedding. Score and parts. 9 pages. Bruno Tapia #3860045. Published by Bruno Tapia (A0.924600). Vals para la tarde es una pieza fácil para cinco flautas. Es un vals muy melódico y cantabile, ideal para desarrollar sonido y la interacción entre las voces hace que sea una pieza grata de tocar para todos los músicos.Waltz for the afternoon is a easy piece for five flutes. It's a very melodic and cantabile waltz, ideal for a good sound developing and the interaction between the voices makes it a pleasant piece to play for all the musicians.
$8.00
La Campana de la Tarde
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Classical
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Granados, Enrique
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Nick Lacanski
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La Campana de la Tarde
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theupperstaff
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SheetMusicPlus
Clarinet,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.647243 Composed by Granados, Enrique. Arranged by Nick Lacanski. Romantic Period. S...
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Clarinet,Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.647243 Composed by Granados, Enrique. Arranged by Nick Lacanski. Romantic Period. Score and individual part. 4 pages. Theupperstaff #29695. Published by theupperstaff (A0.647243). This compound metered, lyrical, song-like composition from the piano repertoire really takes on a new breath of life with the sustaining qualities of the solo instrument. This is a perfect work to concentrate on all aspects of musicianship and tone quality. Playable by the advancing student with an easy piano accompaniment, it is a perfect change of pace to be included in the upcoming recital.
$3.99
La Campana de la Tarde
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Granados, Enrique
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Nick Lacanski
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La Campana de la Tarde
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theupperstaff
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SheetMusicPlus
Marimba Solo,Piano - Level 3 - Digital Download SKU: A0.649077 Composed by Granados, Enrique. Arranged by Nick Lacanski. Concert,Instructional,Romantic P...
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Marimba Solo,Piano - Level 3 - Digital Download SKU: A0.649077 Composed by Granados, Enrique. Arranged by Nick Lacanski. Concert,Instructional,Romantic Period,Standards. Individual part. 4 pages. Theupperstaff #5310131. Published by theupperstaff (A0.649077).
$3.99
Four Romantic Cuban Dances for oboe and English Horn trio
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Ignacio Cervantes
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John Gibson
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Four Romantic Cuban Dances for
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JB Linear
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio English Horn,Oboe - Level 4 - Digital Download SKU: A0.582105 Composed by Ignacio Cervantes. Arranged by John Gibson. Hol...
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Woodwind Ensemble,Woodwind Trio English Horn,Oboe - Level 4 - Digital Download SKU: A0.582105 Composed by Ignacio Cervantes. Arranged by John Gibson. Holiday,Latin. 25 pages. JB Linear #5314607. Published by JB Linear (A0.582105). Ignacio Cervantes (1847 - 1905) was an influential Cuban composer born in Havana, Cuba. His many Cuban Dances are wonderful examples of the growth of the very rhythmic and charming Cuban music that we enjoy so much now. This set of four dances was arranged by John Gibson for double reed trio (2 oboes and English Horn). It includes: La Tarde Esta Amorosa (This Romanic Evening), Mis Amores (My Romance), No Ilores mas! (Weep No Longer!), and De Mil Amores (With All My Heart). Once you have Habanera rhythms learned the music flows easily. There are many accidentals, which is why the music is noted as Advanced Intermediate, although an intermediate player could play it successfully. These are wonderful little miniatures to perform! (listen to the wonderful You Tube video of the Double Reed Diva's of La Tarde Esta Amorosa!).
$13.75
Beguine the Beguine
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Jazz
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Cole Poter
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Cristian Gomez
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Beguine the Beguine
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Kike G
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SheetMusicPlus
Small Ensemble Alto Saxophone,Bass Clarinet,Tenor Saxophone - Level 4 - Digital Download SKU: A0.968994 Composed by Cole Poter. Arranged by Cristian Gome...
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Small Ensemble Alto Saxophone,Bass Clarinet,Tenor Saxophone - Level 4 - Digital Download SKU: A0.968994 Composed by Cole Poter. Arranged by Cristian Gomez. Jazz. Score and parts. 8 pages. Kike G #5011755. Published by Kike G (A0.968994). « Begin the Beguine » es una canción compuesta por Cole Porter que está identificado uno de los módulos de la música popular estadounidense.Fue compuesta en 1934, según el propio Porter, en un crucero exótico por las islas Fiyi . Sus orÃgenes son inciertos: de acuerdo con él, que antes habÃa declarado haber oÃdo los cuatro primeros compara a un isleño en Kalahabi que bailaba frenéticamente bajo la luna indonesia, la habÃa escuchado a una banda martiniquesa en un café cantante de ParÃs . Entonces bautizó el ritmo como una rumba calipso. Más tarde, sin embargo, asegurarÃa que no venÃa de Trinidad , sino de la misma Martinica y que se llamaba bel-air de la lune .Actualmente el ritmo es conocido como beguine . El
$5.00
Luces peregrinas (Pilgrim Lights), Celtic Song by Gustavo Fuentes
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Gustavo Fuentes
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Gustavo Fuentes
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Luces peregrinas
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Gustavo Fuentes
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SheetMusicPlus
Small Ensemble Cello,Flute,Soprano Recorder,Violin - Level 3 - Digital Download SKU: A0.900402 Composed by Gustavo Fuentes. Arranged by Gustavo Fuentes. ...
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Small Ensemble Cello,Flute,Soprano Recorder,Violin - Level 3 - Digital Download SKU: A0.900402 Composed by Gustavo Fuentes. Arranged by Gustavo Fuentes. Celtic,Folk,Holiday,New Age,World. Score and parts. 5 pages. Gustavo Fuentes #3637495. Published by Gustavo Fuentes (A0.900402). Pilgrim Lights. Celtic music song composed by Gustavo Fuentes, arranged for two voices. One melody instrument, such as tin-whistle, flute, recorder, low whistle, violin or piano and low voice like cello or bass, with chords for piano or guitar. The audio is from to the Gustavo Fuentes CD Almas en vuelo that you can listen to on Spotify. One of the few things that we know for certain in this life is that one day we will begin our journey to eternity. Some of our loved ones will begin their journey before us, and we will be left with memories of them and a sense of loss and absence.But some of our loved ones do not travel to eternity, they only wander away until we can meet again, and in the meantime all we can do is feel them from a distance.The old Druids believed distance was not measured in miles but in affection. That is why even when someone has left us and begun their pilgrimage to somewhere far away or to eternity, we can feel them and their light close to us.May those pilgrim lights shine bright and guide our journey. Canción de música celta compuesta por Gustavo Fuentes, arreglada para dos voces. Una aguda como tin-whistle, low whistle, flauta traversa, flauta dulce, violÃn o piano y un instrumento grave como cello o bajo, con cifrado de acordes para piano o guitarra. El audio pertenece al CD de Gustavo Fuentes Almas en vuelo, que se puede escuchar completo en Spotify. Nuestro viaje a la eternidad es una de las pocas certezas que tenemos en este plano de la vida. Y durante esta vida, muchos de nuestros afectos parten a su viaje antes que nosotros, dejándonos con su recuerdo, con su pérdida, con su falta.Algunos de nuestros seres queridos no viajan a la eternidad, tan sólo se alejan para tal vez reencontrarnos más tarde, y mientras tanto sólo nos queda sentirlos en la distancia.Según los antiguos druidas, la distancia no es un hecho geográfico sino afectivo. Por eso podemos sentir cerca a alguien que está lejos, a uno de esos seres luminosos que han iluminado nuestra vida para comenzar su peregrinaje, asà sea a un lugar lejano o a su morada eterna.Que esas luces peregrinas nos guÃen en nuestro camino, dándonos señales con su brillo.
$4.99
Poema de Natal (1996) for mezzo-soprano, clarinet, trombone, piano and percussion
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Thomas Oboe Lee
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Poema de Natal
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Thomas Oboe Lee
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SheetMusicPlus
Small Ensemble Clarinet,Percussion,Trombone,Voice - Level 4 - Digital Download SKU: A0.869182 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemp...
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Small Ensemble Clarinet,Percussion,Trombone,Voice - Level 4 - Digital Download SKU: A0.869182 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 29 pages. Thomas Oboe Lee #31001. Published by Thomas Oboe Lee (A0.869182). Instrumentation: B-clarinet Tenor trombone Percussion: triangle, 2 small cymbals, tambourine, snare drum, bass drum Piano Mezzo-soprano POEMA DE NATAL - Vinicius de Moraes Para isso fomos feitos: Para lembrar e ser lembrados, Para chorar e fazer chorar, Para enterrar os nossos mortos -- Por isso temos braços longos para os adeuses, Mãos para colher o que foi dado, Dedos para cavar a terra. Assim será nossa vida; Uma tarde sempre a esquecer, Uma estrêla a se apagar na treva, Um caminho entre dois túmulos -- Por isso precisamos velar, Falar baixo, pisar leve, ver A noite dormir em silêncio. Não há muito que dizer: Uma canção sobre um berço, Um verso, talvez, de amor, Uma prece por quem se vai -- Mas que essa hora não esqueça E que por ela os nossos corações Se deixem, graves e simples. Pois para isso fomos feitos: Para a esperança no milagre, Para a participacão da poesia, Para ver a face da morte -- De repente, nunca mais esperaremos ... Hoje a noite é jovem; da morte apenas Nascemos, imensamente.
$9.99
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Le...
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
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