Partitions Numériques de Be Like That pour Saxophone Alto et Piano

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Be Like That
Non classifié 87

Piano & claviers
Piano seul 64
Piano, Voix 5
Orgue 2
2 Pianos, 4 mains 2
Piano Quintette: piano, 2 violons, alto, violoncelle 1

Piano Quatuor: piano, 2 violons, violoncelle 1
Instruments en Do 1
Piano Quatuor: piano, violon, alto, violoncelle 1
Piano, Voix et Guitare 1

+ 4 instrumentations

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Guitares
Guitare 6
Basse electrique 2
Ukulele 1
Piano, Guitare (duo) 1

Voix
Chorale SATB 15
Voix Soprano, Piano 6
Chorale SSAA 3
Voix basse, Piano 1
Chorale 3 parties 1

Voix Tenor 1

+ 1 instrumentations

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Vents
Quintette de Saxophone: 5 saxophones 6
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 6
Saxophone Alto et Piano 4

Saxophone Soprano et Piano 4
Quatuor de Saxophones: 4 saxophones 4

Ensemble de Clarinettes 3
Flûte traversière 3
Quintette de Flûte : 5 flûtes 2
Hautbois, Piano (duo) 2
Quatuor de Clarinettes: 4 clarinettes 1
2 Clarinettes (duo) 1
Clarinette, Violoncelle, Piano (trio) 1
Flûte, Hautbois, Clarinette, Basson 1
Flûte traversière et Piano 1
Clarinette et Piano 1
Ensemble de Flûtes 1
Saxophone Tenor et Piano 1
Clarinette, Basson (duo) 1
2 Saxophones (duo) 1

+ 14 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 9
Cor 3
2 Trombones (duo) 3
Tuba et Piano 3
Quatuor de Cuivres : 2 trompettes, trombone, tuba 3

Ensemble de Trompettes 2
Ensemble de Trombones 2
Trombone et Piano 2
Tuba 2
3 Euphoniums 1
Trombone basse et Piano 1
Trompette 1
Trombone 1

+ 8 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 18
Violon 4
Alto, Piano 4
Violon et Piano 3
Contre Basse 3

Trio à Cordes: violon, alto, violoncelle 3
Violon, Alto (duo) 2
Violoncelle, Piano 2
Ensemble d'Altos 2
2 Altos (duo) 2
Violoncelle 1
Ensemble de Violons 1
Quintette à cordes: 2 violons, alto, violoncelle, basse 1

+ 8 instrumentations

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Percussions & orchestre
Orchestre 11
Orchestre d'harmonie 7
Ensemble Jazz 6
Ensemble de cuivres 6
Orchestre de chambre 5

Orchestre à Cordes 4
Ensemble de Percussions 2
Marimba 1
Piano et Orchestre 1
Vibraphone 1

+ 5 instrumentations

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Be Like That

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Saxophone Alto et Piano

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4 partitions trouvées

Korsakov: Flight of the Bumblebee for Alto Sax & Piano

Korsakov: Flight of the Bumblebee for Alto Sax & Piano #Saxophone Alto et Piano #AVANCÉ #Classique #Contemporain #Nikolay Andreyevich Rimsky-Kor #James M #Korsakov: Flight of the Bumble #jmsgu3 #SheetMusicPlus

Alto Saxophone,Piano - Level 5 - SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Roma...(+)

Alto Saxophone,Piano - Level 5 - SKU: A0.549254 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 15 pages. Jmsgu3 #3473685. Published by jmsgu3 (A0.549254). Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Of course, Korsakov intended to portray a bumblebee's chaotic flying pattern musically. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears occasionally in popular culture. The piece appears notably in the opera at the close of Act III, Tableau 1. This is when the magic Swan-Bird changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive. Korsakov Background Nikolai Rimsky-Korsakov (1844 â€“1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions- Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite- are essential monuments of the standard music repertoire.Â Also comparatively very important are his suites and excerpts from his 15 operas. Korsakov used Russian folklore and fairy tales, such as Scheherazade, in his music.Â Nationalistic Style Like fellow outspoken composer Balakirev, Korsakov believed in creating a nationalistic, Russia-centric style of classical music. The new style was called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic, and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education. He mastered Western methods, incorporating them with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which heightened his orchestration capabilities. Legacy In due time, Korsakov contributed a significant number of Russian nationalist works. He also prepared, occasionally, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers as a music educator. Therefore, music historians consider Korsakov the foremost engineer of what the public considers the Russian composition style. He served as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â

$32.95 ≈ £25.85

Three Urban Nocturnes

Three Urban Nocturnes #Saxophone Alto et Piano #AVANCÉ #Contemporain #Paolo Coggiola #the second, #Three Urban Nocturnes #Preludio s.r.l. #SheetMusicPlus

Alto Saxophone,Piano - Level 5 - SKU: A0.808993 Composed by Paolo Coggiola. 20th Century,Contemporary. Score and part. 51 pages. Preludio s.r.l. #625836...(+)

Alto Saxophone,Piano - Level 5 - SKU: A0.808993 Composed by Paolo Coggiola. 20th Century,Contemporary. Score and part. 51 pages. Preludio s.r.l. #6258361. Published by Preludio s.r.l. (A0.808993). Three Urban Nocturnes, for alto saxophone and piano, explores the sensual and perhaps even a little criminal side that the saxophone has in the author's imagination, evoking a night walk in a great contemporary city. Moving from mysterious sounds that introduce us to a dark atmosphere in the first song, Black Friars, we are introduced in two bright pages that could be two tributes to the female universe: the first, Lady Roxana, with smooth, elegant and finally affectionate sounds ; the second, Sex Sade, which does not hide a paroxysmal and virtuosic pleasure in writing, thanks to the safe conduct of the night. Like other recent pieces by the author, it is a suite of pieces that expresses an evident choice of field in a proudly neo-romantic key.SCORE and PARTS available.

$24.99 ≈ £19.60

LUNA for violin, alto saxophone and piano

LUNA for violin, alto saxophone and piano #Saxophone Alto et Piano #AVANCÉ #Contemporain #Daniel Cueto #LUNA for violin, alto saxophon #Daniel Cueto #SheetMusicPlus

Instrumental Duet,Piano Alto Saxophone,Instrumental Duet,Piano,Violin - Level 5 - SKU: A0.876578 Composed by Daniel Cueto. 20th Century,Concert,Contempo...(+)

Instrumental Duet,Piano Alto Saxophone,Instrumental Duet,Piano,Violin - Level 5 - SKU: A0.876578 Composed by Daniel Cueto. 20th Century,Concert,Contemporary. Score and parts. 17 pages. Daniel Cueto #4980495. Published by Daniel Cueto (A0.876578). ABOUT THIS WORK:In 2016, the Russian Space Corporation announced its newest long-term project: a plan to establish a permanent human colony on the Moon by the year 2030. Several other nations - including Japan, China and the USA - have announced similar projects over the years. I began to think about this idea and its possible implications for human culture. An intriguing question came to mind: if a human settlement on the Moon is developed, would art works be created there? Would there be composers there, writing music?After enough time had passed, what would the music made by inhabitants of such remote colonies sound like?I started to imagine a music that combined well-known elements of the Western tradition with new patterns and concepts, these being an expression of the profoundly different daily-life experiences of living on the Moon. I heard, in my mind, a lonesome chant, performed with a view of a lunar night sky. After the song, a strange pulsating music, maybe a subtle depiction of a process of lunar tectonics. Connecting between these two elements, a third one emerged: a mysterious, oscillating motive, perpetually shifting back and forth between two harmonies; swaying, gently and forever, until lost to a cosmic silenceâ€¦From these resonant impressions, a primitive sketch started to emerge; a voyage into an unexplored compositional region. A musical fantasy about a distant - yet still human - reality.

$14.99 ≈ £11.76

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