Partitions Numériques de Give Thanks pour Trombone et Piano

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Give Thanks
Non classifié 184

Piano & claviers
Piano seul 72
Piano, Voix 65
Piano, Voix et Guitare 26
Orgue 8
Instruments en Do 6

Piano Facile 6
Accompagnement Piano 5
Piano grosses notes 4
1 Piano, 4 mains 4
Piano Trio: piano, violon, violoncelle 3
Piano (partie séparée) 2

+ 6 instrumentations

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Guitares
Ligne De Mélodie, (Paroles) et Accords 14
Guitare 5
Guitare notes et tablatures 4
Ukulele 4
Mandoline 1

Piano, Guitare (duo) 1
Paroles et Accords 1

+ 2 instrumentations

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Voix
Chorale SATB 158
Chorale 2 parties 49
Voix duo, Piano 40
Chorale Unison 31
Chorale 3 parties 30

Chorale 6
Chorale TTBB 3
Voix seule 2
Chorale SSAA 2
Voix Tenor, Piano 1
Voix Soprano, Piano 1

+ 6 instrumentations

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Vents
Clarinette (partie séparée) 7
Flûte traversière et Piano 7
Flute (partie séparée) 4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 3
Hautbois, Piano (duo) 2

Clarinette 2
Hautbois (partie séparée) 2
Saxophone (partie séparée) 2
Saxophone Alto 2
2 Flûtes traversières (duo) 2
Saxophone Baryton, Piano 1
Cor anglais, Piano 1
Saxophone Tenor 1
Clarinette et Piano 1
Clarinette, Orchestre 1
Flûte, Hautbois, Clarinette, Basson 1
Saxophone Tenor et Piano 1
Flûte traversière 1
Quatuor de Clarinettes: 4 clarinettes 1
Hautbois 1

+ 15 instrumentations

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Cuivres
Trompette (partie séparée) 7
Trombone (partie séparée) 7
Trompette, Piano 3
Trombone et Piano 2

Quatuor de Cuivres : 2 trompettes, trombone, tuba 1

Cor anglais, Piano 1
Cor 1
Quatuor de Cuivres: 2 trompettes, Cor, trombone 1

+ 3 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 20
Violon et Piano 8
Harpe 6
Violon 4
Violon (partie séparée) 4

Violoncelle (partie séparée) 4
Violoncelle, Piano 4
2 Violons (duo) 2
Violon, Violoncelle (duo) 2
Trio à cordes: 3 violins 2
Alto (partie séparée) 2
Trio à Cordes: 3 violoncelles 2
Trio à Cordes: violon, alto, violoncelle 1
4 Contrebasses 1
Alto seul 1
Contre Basse 1
2 Violons, Piano 1
Violoncelle , Guitare (duo) 1
2 Violoncelles (duo) 1
Violoncelle 1

+ 15 instrumentations

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Percussions & orchestre
Orchestre 14
Cloches 9
Orchestre à Cordes 8
Orchestre de chambre 6
Piano et Orchestre 3

Percussion 2
Ensemble de cuivres 2
Percussion (partie séparée) 2
Fanfare 1
Orchestre d'harmonie 1
Timbales 1

+ 6 instrumentations

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Give Thanks

Trombone et Piano

Partitions à imprimer

2 partitions trouvées

Morning Has Broken

Morning Has Broken #Trombone et Piano #DÉBUTANT #Rock #Cat Stevens #James M #Morning Has Broken #jmsgu3 #SheetMusicPlus

Piano,Trombone - Level 1 - SKU: A0.548748 By Cat Stevens. By Cat Stevens. Arranged by James M. Guthrie, ASCAP. Rock. Score and part. 11 pages. Jmsgu3 #3...(+)

Piano,Trombone - Level 1 - SKU: A0.548748 By Cat Stevens. By Cat Stevens. Arranged by James M. Guthrie, ASCAP. Rock. Score and part. 11 pages. Jmsgu3 #3415223. Published by jmsgu3 (A0.548748). Very strong arrangement for Easter. Duration: 2:48. 84 ms. Score: 7 pg. Solo part 1 pg. piano part 3 pg. Morning Has Broken is a popular and well-known Christian hymn first published in 1931. It has words by English author Eleanor Farjeon and was inspired by the village of Alfriston in East Sussex, then set to a traditional Scottish Gaelic tune known as Bunessan [1] (it shares this tune with the 19th century Christmas Carol Child in the Manger[2]). It is often sung in children's services and in Funeral services.[3] English pop musician and folk singer Cat Stevens included a version on his 1971 album Teaser and the Firecat. The song became identified with Stevens due to the popularity of this recording. It reached number six on the U.S. Billboard Hot 100, number one on the U.S. easy listening chartin 1972,[4] and number four on the Canadian RPM Magazine charts. The hymn originally appeared in the second edition of Songs of Praise (published in 1931), to the tune Bunessan, composed in the Scottish Islands. In Songs of Praise Discussed, the editor, Percy Dearmer, explains that as there was need for a hymn to give thanks for each day, English poet and children's author Eleanor Farjeon had been asked to make a poem to fit the lovely Scottish tune. A slight variation on the original hymn, also written by Eleanor Farjeon, can be found in the form of a poem contributed to the anthology Children's Bells, under Farjeon's new title, A Morning Song (For the First Day of Spring), published by Oxford University Press in 1957. The song is noted in 9/4 time but with a 3/4 feel. Bunessan had been found in L. McBean's Songs and Hymns of the Gael, published in 1900.[5] Before Farjeon's words, the tune was used as a Christmas carol, which began Child in the manger, Infant of Mary, translated from the Scottish Gaelic lyrics written by Mary MacDonald. The English-language Roman Catholic hymnal also uses the tune for the James Quinn hymns, Christ Be Beside Me and This Day God Gives Me, both of which were adapted from the traditional Irish hymn St. Patrick's Breastplate. Another Christian hymn, Baptized In Water, borrows the tune. -Wikipedia

$47.95 ≈ 43.25€

Concerto for Trombone and Piano accompaniment (piano reduction)

Concerto for Trombone and Piano accompaniment (piano reduction) #Trombone et Piano #AVANCÉ #Cherry Classics Music #John, W #Concerto for Trombone and Pian #Gordon Cherry #SheetMusicPlus

Piano,Trombone - Level 5 - SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. ...(+)

Piano,Trombone - Level 5 - SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983). This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.

$35.00 ≈ 31.57€

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