Partitions Numériques de All I Can Say pour Cor et Piano

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All I Can Say
Non classifié 171

Piano & claviers
Piano seul 92
Piano, Voix 50
Piano, Voix et Guitare 43
Instruments en Do 13
Piano Facile 6

Piano grosses notes 4
1 Piano, 4 mains 4
Orgue 3
Piano Quatuor: piano, violon, alto, violoncelle 1
Piano Trio: piano, violon, violoncelle 1

+ 5 instrumentations

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Guitares
Guitare 19
Guitare notes et tablatures 10
Ukulele 5
Basse electrique 3
Guitare, Violon, Violoncelle (trio) 1

Mandoline 1
2 Guitares (duo) 1
Ligne De Mélodie, (Paroles) et Accords 1

+ 3 instrumentations

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Voix
Chorale SATB 40
Chorale 3 parties 30
Chorale 2 parties 9
Voix duo 4
Chorale TTBB 4

Voix seule 3
Voix haute 3
Voix Soprano, Piano 2
Chorale SSAA 1
Chorale SSATTB 1
Chorale Unison 1
Voix Tenor, Piano 1
Voix Alto, Piano 1
Voix basse 1

+ 9 instrumentations

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Vents
Saxophone 15
2 Flûtes traversières (duo) 14
Hautbois (partie séparée) 13
Clarinette 11
Quatuor de Saxophones: 4 saxophones 10

Saxophone Tenor et Piano 8
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 7
Quintette de Saxophone: 5 saxophones 6
Flûte traversière et Piano 6
Flûte traversière 5
Quatuor de Clarinettes: 4 clarinettes 5
Flûte, Hautbois, Clarinette, Basson 4
Saxophone Soprano et Piano 3
Quintette de Flûte : 5 flûtes 2
Ensemble de Clarinettes 2
Saxophone Alto et Piano 2
Hautbois, Piano (duo) 2
Quintette de Clarinettes: 5 clarinettes 2
Clarinette et Piano 2
Flûte et Guitare 1
3 Clarinettes (trio) 1
Saxophone et Orgue 1
Cor anglais, Piano 1
Saxophone Alto 1
Saxophone Baryton, Piano 1
Flûte, Violon et Violoncelle 1
Flûte à bec Soprano 1

+ 22 instrumentations

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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba 8
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 5
Trombone 4
Trombone et Piano 4
Cor 4

Trompette 3
Ensemble de Trombones 3
Cor et Piano 3

Trompette, Piano 2
Ensemble de Trompettes 2
Quatuor de Cuivres 1
Quatuor de cuivres: 4 trombones 1
Tuba et Piano 1
Cor anglais, Piano 1
Quatuor de Cuivres: 2 trompettes, Cor, trombone 1
Quatuor de cuivres: 4 trompettes 1
Trompette, Trombone (duo) 1
Trompette, Euphonium (duo) 1
Tuba 1

+ 14 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 17
Harpe 10
Violon 9
2 Violons (duo) 6
Violoncelle, Piano 6

Violon et Piano 4
Violon, Violoncelle (duo) 4
Quintette à cordes: 2 violons, alto, violoncelle, basse 3
Violoncelle 3
Trio à Cordes: violon, alto, violoncelle 3
Violon, Guitare (duo) 3
Alto, Piano 3
Ensemble de Violons 2
2 Violoncelles (duo) 2
Alto seul 1
Contre Basse 1
Contrebasse (partie séparée) 1

+ 12 instrumentations

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Percussions & orchestre
Orchestre 16
Orchestre à Cordes 12
Orchestre de chambre 10
Orchestre d'harmonie 8
Ensemble Jazz 5

Jazz combo 3
Cloches 2
Marimba 1
Fanfare 1
Batterie 1
Ensemble de cuivres 1

+ 6 instrumentations

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All I Can Say

Cor et Piano

Partitions à imprimer

3 partitions trouvées

A Night In Tunisia

A Night In Tunisia #Cor et Piano #INTERMÉDIAIRE/AVANCÉ #Jazz #Dizzy Gillespie #Keith Terrett #A Night In Tunisia #Keith Terrett #SheetMusicPlus

French Horn,Piano - Level 4 - SKU: A0.747029 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Score and part...(+)

French Horn,Piano - Level 4 - SKU: A0.747029 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Score and part. 12 pages. Keith Terrett #5899751. Published by Keith Terrett (A0.747029). A great sounding arrangement of A Night in Tunisia arranged for Oboe & Piano, Horn players will love this!A jazz solo is written out for you, if you wish you can improvise on the given chord symbols!A Night in Tunisia is a musical composition written by Dizzy Gillespie around 1941â€“42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard.It is also known as Interlude. Gillespie called the tune Interlude and said some genius decided to call it 'Night in Tunisia'. He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. A Night in Tunisia was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame.On the album A Night at Birdland Vol. 1, Art Blakey introduced his 1954 cover version with this statement: At this time we'd like to play a tune [that] was written by the famous Dizzy Gillespie. I feel rather close to this tune because I was right there when he composed it in Texas on the bottom of a garbage can. The audience laughs, but Blakey responds, Seriously. The liner notes say, The Texas department of sanitation can take a low bow.The complex ostinato bass line in the A section is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard Alone Together, causing the V chord to lead back into the Sub V of the A section.Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections - in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.

$8.99 ≈ 8.08€

We're Marching to Zion

We're Marching to Zion #Cor et Piano #INTERMÉDIAIRE #Musique Sacrée #Robert Lowry #David M #We're Marching to Zion #David M. Sampson #SheetMusicPlus

French Horn,Piano - Level 3 - SKU: A0.941201 Composed by Robert Lowry. Arranged by David M. Sampson. Christian,Sacred. Score and part. 19 pages. David M...(+)

French Horn,Piano - Level 3 - SKU: A0.941201 Composed by Robert Lowry. Arranged by David M. Sampson. Christian,Sacred. Score and part. 19 pages. David M. Sampson #5983835. Published by David M. Sampson (A0.941201). This is an arrangement of the hymn We're Marching to Zion by Isaac Watts, music by Robert Lowry. It's written for solo horn with piano accompaniment.The piece is a rondo with themes also from Oh, Say But I'm Glad and When Love Shines In.This piece is dedicated to Drew Boling, a talented church musician who finally lost his battle with cancer in 2011. He was a fellow horn player at Highview Baptist Church, Louisville, KY, and a student at Southern Baptist Theological Seminary and formerly served as minister of music and worship at several local churches.

$1.99 ≈ 1.79€

Luther: Out of the Depths for French Horn & Piano

Luther: Out of the Depths for French Horn & Piano #Cor et Piano #DÉBUTANT #Martin Luther #James M #piano #Luther: Out of the Depths for #jmsgu3 #SheetMusicPlus

French Horn,Piano - Level 1 - SKU: A0.548717 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and p...(+)

French Horn,Piano - Level 1 - SKU: A0.548717 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411743. Published by jmsgu3 (A0.548717). Out of the DepthsÂ I Cry to You by Martin Luther arranged for French horn & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 â€“1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Lutherâ€™s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich SchÃ¼tz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in LÃ¼beck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

$24.95 ≈ 22.42€

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