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Vous avez sélectionné:
Fum, Fum, Fum with Pat a Pan
Partitions à imprimer
9 partitions trouvées
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1
Fum, Fum, Fum with Pat-a-Pan
Fum, Fum, Fum with Pat-a-Pan
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1 Piano, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Traditional Carols
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Michael Ware
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Fum, Fum, Fum with Pat-a-Pan
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SheetMusicPlus
Piano Duet - Advanced Intermediate - Digital Download Composed by Traditional Carols. Arranged by Michael Ware. Christian, General Worship, Folk, Chr...
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Piano Duet - Advanced Intermediate - Digital Download Composed by Traditional Carols. Arranged by Michael Ware. Christian, General Worship, Folk, Christmas, Recital. 8 pages. Published by MusicWare Press
Fum, Fum, Fum with Pat-a-Pan is Michael Ware's 4 Hand Piano arrangement of the famous Catalan and French Christmas carols. Sure to delight the audience or congregation, this mesmerizing setting is bound to become a holiday favorite. Watch on YouTube: https://www.youtube.com/watch?v=MakzQlfcVt4&index=17&list=UUOdpHXmHg4DNcOmBfIQPeCw
2017 Holiday Contest Entry
$6.99 ≈
6.30€
Pat-a-Pan/Fum Fum Fum Duet (1 Piano/4 Hands)
Pat-a-Pan/Fum Fum Fum Duet (1 Piano/4 Hands)
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1 Piano, 4 mains
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INTERMÉDIAIRE
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Noël
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Traditional/Bernard de la Monn
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Raevynn Nicole Davis
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Pat-a-Pan/Fum Fum Fum Duet
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Raevynn Nicole Davis
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SheetMusicPlus
1 Piano,4 Hands,Piano Duet - Level 3 - SKU: A0.922024 Composed by Traditional/Bernard de la Monnoye. Arranged by Raevynn Nicole Davis. Christmas. Score....
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1 Piano,4 Hands,Piano Duet - Level 3 - SKU: A0.922024 Composed by Traditional/Bernard de la Monnoye. Arranged by Raevynn Nicole Davis. Christmas. Score. 19 pages. Raevynn Nicole Davis #3859663. Published by Raevynn Nicole Davis (A0.922024). 2018 Holiday Contest EntryRaevynn Nicole brings an engaging Christmas piano duet (1 piano, 4 hands) combining Pat-a-Pan and Fum Fum Fum into an exciting piece that gives equal melody lines to both the Primo and Secondo pianist. Â Happy playing and Merry Christmas!2 formats - 1 score with both parts; Secondo and Primo parts separated for each pianist.
$7.99 ≈
7.21€
Christmas Medley No. 4 for wind quintet
Christmas Medley No. 4 for wind quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE
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Noël
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Bill Malcolm
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Christmas Medley No. 4 for win
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Bill Malcolm
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - SKU: A0.1308777 Composed by Bill Malcolm. Chamber,Christmas. 17 pages. B...
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - SKU: A0.1308777 Composed by Bill Malcolm. Chamber,Christmas. 17 pages. Bill Malcolm #898020. Published by Bill Malcolm (A0.1308777). This medley includes Carol of the Bells, Fum, Fum, Fum, I Heard the Bells on Christmas Day, and Pat-a-Pan. I arranged it years ago with The Little Drummer Boy inserted where Fum, Fum, Fum is unaware that that song was (and still is) copyrighted. Being an octogenarian, I decided not to wait for the copyright to expire. The oboe part has a tambourine double. Full disclosure: the Fum, Fum, Fum song identicall arranged is in my Christmas Medley No. 6.Finally a full concert band arrangement is also available.
$15.00 ≈
13.53€
Christmas Pictures At An Exhibition for Brass Quintet
Christmas Pictures At An Exhibition for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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AVANCÉ
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Noël
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Various
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Sy Brandon
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Christmas Pictures At An Exhib
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Sy Brandon
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SheetMusicPlus
Brass Quintet - Level 5 - SKU: A0.1350175 Composed by Various. Arranged by Sy Brandon. 19th Century,Christmas. 61 pages. Sy Brandon #934956. Published b...
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Brass Quintet - Level 5 - SKU: A0.1350175 Composed by Various. Arranged by Sy Brandon. 19th Century,Christmas. 61 pages. Sy Brandon #934956. Published by Sy Brandon (A0.1350175). This setting of Christmas carols is modeled after parts of the Ravel transcription of Mussorgsky’s “Pictures at an Exhibition.†It begins with a “Promenade†in 5/4 based on “O Come, O Come Emmanuelâ€. Measures 20 - 140 is modeled after “The Ballet of Unhatched Chicks†and uses the carols “O Come Little Children,†“Pat-a-pan,†and “Fum Fum Fum.†This is followed by the “Promenade†from measures 141 to 151. Measures 152 to 214 is modeled after “Bydlo†and uses the carols “God Rest Ye Merry, Gentlemen†and “Good King Wenceslausâ€. Measures 215 - 225 is a shorter, more pensive “Promenadeâ€. “Samuel Goldenberg and Schmuyle†is the influence on the setting of “Rise Up Shepherds and Follow†from measures 226 -252. This is followed by a setting of Hark! The Herald Angels Sing†from measures 253 - 280 that is influenced by “The Hut on Fowl’s Legs.†This leads directly into a majestic chorale setting of “O Come, All Ye Faithful†that is modeled after “The Great Gate of Kiev†as it brings the piece to a triumphant conclusion.
$15.00 ≈
13.53€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
22.55€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00 ≈
22.55€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
22.55€
Christmas Carols: Anthology
Christmas Carols: Anthology
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Chorale SATB
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INTERMÉDIAIRE
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Noël
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Various
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Christmas Carols: Anthology
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SheetMusicPlus
SATB - Intermediate - Digital Download Composed by Various. Arranged by Miguel Astor. Christian, World, Christmas, Recital. Score. 40 pages. Published ...
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SATB - Intermediate - Digital Download Composed by Various. Arranged by Miguel Astor. Christian, World, Christmas, Recital. Score. 40 pages. Published by Published by Miguel Astor
An anthology of beloved Christmas Carols in easy arrangements for SATB chorus, with the following titles:
Gaudete
Personent hodie
Coventry Carol
Quem pastores laudavere
Quitez pasteurs
Pat-a-pan
Still, Still, Still
Fum, Fum, Fum
Adeste Fideles
Frliche Weinacht
Noche de paz-Silent Night
Maria durch ein Dornwald ging
$11.99 ≈
10.81€
Supereroi
Supereroi
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Mr
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Supereroi
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Nonamé Música
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1452189 By Mr. Rain. By Federica Abbate, Lorenzo Vizzini Bisaccia, and Mattia Balar...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1452189 By Mr. Rain. By Federica Abbate, Lorenzo Vizzini Bisaccia, and Mattia Balardi. Arranged by Luis Turina and Nonamé Música. 21st Century,Contest,Festival,Patriotic,Pop,Singer/Songwriter. 18 pages. Nonamé Música #1031508. Published by Nonamé Música (A0.1452189). (English & Spanish below) Arrangiamento realizzato per Edu e Álex per l'ingresso di quest'ultimo al loro matrimonio, il 1 giugno 2024. Canzone epica, terzo posto alla 73a edizione del Festival di San Remo, 2023. La partitura non ha difficoltà per il violoncello, mentre le parti rappato e quasi tutte le seconde voci sono alla viola; il secondo violino, dopo l'intervento iniziale con un solo, esegue accompagnamenti acuti. Il violino 1 fa la maggior parte della melodia. Il corale di apertura elimina completamente la parte recitata. Il giorno della prima, l'intero quartetto si innamorò dell'arrangiamento (e della canzone).Disposto su due pagine per strumento per facilitare le performance all'aperto. Archi, diteggiature e sfumature per poterne fare una buona lettura a prima vista.Altri arrangiamenti di Noname sul nostro canale: Nonamé Musica.Arrangement made for Edu and Álex for Álex's entrance at their wedding, on June 1, 2024. Epic song, third place at the 73rd edition of the San Remo Festival, 2023. The score has zero difficulty for the cello, while the rapped parts and almost all the second voices are in the viola; the second violin, after the initial intervention with a solo, makes high-pitched accompaniments. Violin 1 carries most of the melody. The opening chorale eliminates the recited part entirely. On the day of its premiere, the entire quartet fell in love with the arrangement (and the song).Arrangement on only two pages per instrument to facilitate its interpretation outdoors. Bowings and dynamics to facilitate a good sightreading.More Noname Music arrangements on our channel: Noname Music.Arreglo realizado para Edu y Álex para la entrada de este último en su boda, el 1 de Junio de 2024. Épica canción, tercer puesto en la 73ª edición del Festival de San Remo, 2023. La partitura tiene una nula dificultad para el cello, mientras que las partes rapeadas y casi todas las segunda voces están en la viola y el violín segundo, tras la intervención inicial con un solo, hace acompañamientos agudos. El violín 1 lleva la mayor parte de la melodía. El coral inicial elimina por completo la parte recitada. El día de su estreno, el arreglo (y la canción) enamoró a todo el cuarteto.Arreglo en dos páginas por instrumento para facilitar su interpretación al aire libre. Arcos, digitaciones y matices para poder hacer una buena lectura a primera vista.Más arreglos de Nonamé en nuestro canal: Nonamé Música.
$14.99 ≈
13.52€
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