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We Are One!
Not classified
1,545
Piano & keyboards
Piano, Voice
618
Piano solo
505
Piano, Vocal and Guitar
293
Easy Piano
118
Piano Accompaniment
69
Organ
61
C Instruments
38
1 Piano, 4 hands
32
2 Pianos, 4 hands
26
Piano Trio: piano, violin, cello
12
Piano Quartet: piano, 2 violins, cello
5
Piano Quartet: piano, violin, viola, cello
2
1 Piano, 6 hands
2
Big Note Piano
2
Accordion
1
Harpsichord
1
Organ, Piano (duet)
1
Piano (band part)
1
2 Accordions
1
+ 14 instrumentations
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Guitars
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107
Guitar
68
Bass guitar
45
Guitar (band part)
22
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6
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6
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6
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5
4 Guitars (Quartet)
4
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4
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2
3 Guitars (trio)
2
2 Mandolins (duet)
2
Banjo
1
Mandolin, Guitar (duet)
1
Dulcimer
1
2 Ukuleles
1
Guitar Ensemble
1
+ 13 instrumentations
-
Retract
Voice
Choral SATB
452
Choral 3-part
129
Choral 2-part
76
Choral TTBB
43
Choral Unison
36
Choral Instrumental Pak
35
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29
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23
Tenor voice, Piano
20
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19
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13
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11
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7
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7
Baritone voice, Piano
7
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6
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3
Choral SSATTB
3
Medium voice, Piano
1
Choral SSAB, Piano
1
Low voice
1
Soprano voice
1
Mezzo-Soprano voice, Piano
1
+ 18 instrumentations
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205
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180
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128
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115
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110
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106
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94
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91
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81
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77
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71
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69
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55
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51
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49
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46
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39
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17
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16
2 Oboes (duet)
15
Clarinet (band part)
15
Oboe
15
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14
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14
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14
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14
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13
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12
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11
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9
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9
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8
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7
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7
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7
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6
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6
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5
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4
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1
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1
Oboe, Violin (duet)
1
Flute, Clarinet and Bassoon.
1
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154
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117
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110
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64
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64
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53
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52
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41
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32
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28
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27
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25
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20
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11
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9
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8
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1
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1
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69
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59
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50
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34
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33
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31
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30
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We Are One!
Bass Clarinet
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1 sheet music found
Saint-Saëns: The Swan for Bass Clarinet & Piano
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Bass Clarinet
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INTERMEDIATE
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Classical
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Camille Saint-Saens
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James M
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Saint-Saëns: The Swan for Bas
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jmsgu3
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SheetMusicPlus
Bass Clarinet,Instrumental Solo - Level 3 - Digital Download SKU: A0.1314265 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,...
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Bass Clarinet,Instrumental Solo - Level 3 - Digital Download SKU: A0.1314265 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Historic,Wedding. Individual part. 11 pages. Jmsgu3 #903006. Published by jmsgu3 (A0.1314265). Saint-Saëns: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saëns permitted to be performed publicly during his lifetime. This is an excellent recital encore to demonstrate melodic playing and strategic phrasing.The Carnival of the AnimalsThe Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is among the fourteen most famous movements. In its entirety, it lasts about 25 minutes.Saint-Saëns BackgroundCharles-Camille Saint-Saëns 1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, include his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), and, it must be remembered, Carnival of the Animals (1886) to the list.ChildhoodIt is essential to realize that Saint-Saëns was undoubtedly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut, albeit at ten years old. Another critical point to remember is that he expressly studied at the Paris Conservatoire, then, despite reality, conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were, after all, markedly in demand - not only in Europe but, above all, in the Americas all in all as well.YouthA point often overlooked is that in his youth, Saint-Saëns was undoubtedly excited about the modern music of the day. He was, in essence, fond of the music of his contemporaries, particularly Schumann, Liszt, and, for the most part, Wagner. In contrast, however, his compositions seemed, in fact, primarily confined within the conservative classical tradition. Be that as it may, he was, at the same time, nevertheless, a scholar of musical history.CriticismOn the whole, his conservatism, in fact, ultimately brought him into frequent conflict in his later years with composers of the impressionist and, in particular, the dodecaphonic schools of musical thought. A point often overlooked is that he included neoclassical elements in his music, contrary to some critics. Furthermore, in so doing, he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly, as a non-progressive reactionary henceforth around the time of his passing.LegacySaint-Saëns taught briefly in Paris, where his students included Gabriel Fauré. Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
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