Partitions Numériques de Survivin' pour Quatuor de cuivres: 4 trombones

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Survivin'
Non classifié 45

Piano & claviers
Piano seul 9
Piano, Voix 5
Piano, Voix et Guitare 5
Orgue 4
Piano Facile 2

2 Pianos, 4 mains 1
Clavecin 1
Instruments en Do 1

+ 3 instrumentations

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Guitares
Guitare notes et tablatures 1
2 Guitares (duo) 1
Guitare 1

Voix
Chorale SATB 11
Chorale Unison 2
Voix Alto, Piano 1
Voix duo 1
Voix Soprano 1

Vents
Quintette de Saxophone: 5 saxophones 9
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 6
Quatuor de Saxophones: 4 saxophones 6
Quatuor de Flûtes : 4 flûtes 5
Flûte, Hautbois, Clarinette, Basson 4

Quatuor de Clarinettes: 4 clarinettes 3
Quintette de Clarinettes: 5 clarinettes 3
Ensemble de Clarinettes 2
Ensemble de saxophones 2
Ensemble de Flûtes 1
Saxophone Tenor et Piano 1
Flûte à bec Alto 1
Saxophone Alto et Piano 1
2 Flûte à bec (duo) 1
2 Flûtes traversières (duo) 1
Quintette de Flûte : 5 flûtes 1
Clarinette et Piano 1
2 Saxophones (duo) 1
Flûte traversière 1
Saxophone Alto 1
Flûte traversière et Piano 1

+ 16 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 9
Quatuor de Cuivres : 2 trompettes, trombone, tuba 3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones 3
Trombone 2
Trombone et Piano 2

Euphonium, Piano (duo) 1
Ensemble de Trompettes 1
Quatuor de cuivres: 4 trombones 1

Trompette 1
4 Tubas 1
Quatuor de Cuivres 1
Trompette, Piano 1
Ensemble de Trombones 1

+ 8 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 12
Violoncelle 5
Violon et Piano 4
2 Violoncelles (duo) 4
Trio à Cordes: violon, alto, violoncelle 3

Violon 3
Violoncelle, Piano 2
Violon (partie séparée) 2
Ensemble d'Altos 1
Violoncelle (partie séparée) 1
Contre Basse 1
4 Violoncelles 1
Alto (partie séparée) 1
Alto seul 1
Ensemble de Violons 1
Quintette à cordes: 2 violons, 2 altos, violoncelle 1

+ 11 instrumentations

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Orchestre & Percussions
Orchestre 10
Orchestre à Cordes 9
Orchestre d'harmonie 5
Cloches 3
Ensemble de cuivres 2

Orchestre de chambre 1
Ensemble Jazz 1

+ 2 instrumentations

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Survivin'

Quatuor de cuivres: 4 trombones

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Solage: Le basile for Trombone Quartet

Solage: Le basile for Trombone Quartet #Quatuor de cuivres: 4 trombones #FACILE #Solage #James M #Solage: Le basile for Trombone #jmsgu3 #SheetMusicPlus

Trombone Quartet Trombone - Level 2 - SKU: A0.1266548 Composed by Solage. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Me...(+)

Trombone Quartet Trombone - Level 2 - SKU: A0.1266548 Composed by Solage. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 8 pages. Jmsgu3 #859221. Published by jmsgu3 (A0.1266548). Solage's ballade Le basile de sa propre nature is a significant work in the history of medieval music. Here are some of its historical significances:1. It is one of the twelve surviving works attributed to Solage, a French composer who lived in the late 14th century. Solage's works are known for their complex rhythms, intricate harmonies, and expressive melodies.2. Le basile de sa propre nature is a four-voice ballade that features a text about the mythical creature known as the basilisk. The lyrics describe the basilisk as a monster that kills everything it sees with its deadly venom. The music is characterized by its intricate rhythms and harmonies, which reflect the text's vivid imagery.3. The ballade is preserved in the Chantilly Codex, a manuscript that contains a collection of French secular music from the late 14th century. The Chantilly Codex is one of the most important sources of medieval music, and it provides valuable insights into the musical practices of the time.4. Le basile de sa propre nature is an example of the Ars subtilior style, which was a highly experimental and complex musical style that emerged in the late 14th century. This style was characterized by its use of intricate rhythms, complex harmonies, and unusual notational practices. The Ars subtilior style was highly influential in the development of later musical styles, and it remains an important part of the medieval musical canon.Overall, Solage's ballade Le basile de sa propre nature is a significant work that reflects the complex and experimental musical practices of the late 14th century. Its vivid imagery, intricate rhythms, and complex harmonies make it a valuable contribution to the medieval musical canon.Lyrics:All those he sees he kills suddenly,For his venom is deadly.He is a basilisk by his own nature,And he has no other way of being. He is a monster of great power,And he is feared by all who know him.He is a creature of the earth,And he is a master of death. He is a basilisk by his own nature,And he has no other way of being.All those he sees he kills suddenly,For his venom is deadly. He is a creature of the night,And he is a master of the dark.He is a monster of great might,And he is feared by all who hear his name. He is a basilisk by his own nature,And he has no other way of being.All those he sees he kills suddenly,For his venom is deadly.Solage was a French composer and probably also a poet who lived in the late 14th century. He composed the most pieces in the Chantilly Codex, which is the principal source of music of the ars subtilior, a manneristic compositional school centered on Avignon at the end of the century. Solage is an obscure composer, and aside from what can be deduced from the pieces attributed to him in the Chantilly Codex, nothing else is known about him. There are several interpretations of his name, and it is not clear whether his first name was Jean or Charles.Â The ars subtilior was a manneristic compositional school centered on Avignon at the end of the 14th century. It was characterized by complex rhythms and pitch, and it was a transitional period between the late medieval and Renaissance periods. Solage was one of the composers who fit into this school, and he composed the most pieces in the Chantilly Codex, which is the principal source of music of the ars subtilior. Stylistically, Solage's works exhibit two distinctly different characters: a relatively simple one usually associated with his great predecessor and elder contemporary Guillaume de Machaut, and a more recherchÃ© one, complex in the areas of both pitch and rhythm, characteristic of the ars subtilior.Â

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