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We Three Kings Tenor Trio
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Vous avez sélectionné:
We Three Kings Tenor Trio
Partitions à imprimer
18 partitions trouvées
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1
We Three Kings (Sax Trio: AAT)
We Three Kings (Sax Trio: AAT)
#
3 Saxophones (trio)
#
INTERMÉDIAIRE
#
Noël
#
Enrique Granados, John Henry H
#
John A
#
We Three Kings
#
John A. Dempsey
#
SheetMusicPlus
Saxophone Trio,Woodwind Ensemble Alto Saxophone,Tenor Saxophone - Level 3 - SKU: A0.523151 Composed by Enrique Granados, John Henry Hopkins, Jr. Arrange...
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Saxophone Trio,Woodwind Ensemble Alto Saxophone,Tenor Saxophone - Level 3 - SKU: A0.523151 Composed by Enrique Granados, John Henry Hopkins, Jr. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. 19 pages. John A. Dempsey #3234629. Published by John A. Dempsey (A0.523151). Arranged as a festive woodwind trio for two alto saxes and tenor sax, the warm, evocative Christmas carol We Three Kings of Orient Are follows a musical path that merges with the wintry road leading to Enrique Granados' delicately beautiful piece Oriental. A bit of holiday serendipity!  Recommended for Christmas concerts and holiday recitals as well as traditional church services and other seasonal worship events, including Christmas plays, pageants and programs.  Suggested worship uses: a prelude, postlude, an offertory, interlude, Christmas play overture, special music and silent prayer accompaniment.  15 pages of music (that includes the score and separate two-page parts for alto sax 1, alto sax 2 and tenor sax).  Concert Key: G minor.  Alto Sax Key: E minor.  Tenor Sax Key: A minor      We three kings of Orient are: bearing gifts we traverse afar   Field and fountain, moor and mountain - following yonder star.   O star of wonder, star of night; star with royal beauty bright,   Westward leading, still proceeding, guide us to Thy perfect light.      .
$9.99 ≈
9.05€
We Three Kings (Sax Trio: SAT)
We Three Kings (Sax Trio: SAT)
#
3 Saxophones (trio)
#
INTERMÉDIAIRE
#
Noël
#
Enrique Granados, John Henry H
#
John A
#
We Three Kings
#
John A. Dempsey
#
SheetMusicPlus
Saxophone Trio,Woodwind Ensemble Alto Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.523142 Composed by Enrique Granados, John Henry Ho...
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Saxophone Trio,Woodwind Ensemble Alto Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.523142 Composed by Enrique Granados, John Henry Hopkins, Jr. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. 19 pages. John A. Dempsey #3225959. Published by John A. Dempsey (A0.523142). Arranged as a festive woodwind trio for soprano sax, alto sax and tenor sax, the warm, evocative Christmas carol We Three Kings of Orient Are follows a musical path that merges with the wintry road leading to Enrique Granados' delicately beautiful piece Oriental. A bit of holiday serendipity!  Recommended for Christmas concerts and holiday recitals as well as traditional church services and other seasonal worship events, including Christmas plays, pageants and programs.  Suggested worship uses: a prelude, postlude, an offertory, interlude, Christmas play overture, special music and silent prayer accompaniment.  15 pages of music (that includes the score and separate two-page parts for each sax).  Concert Key (Piano):  C major.  Soprano and Tenor Sax Key: D major.  Alto Sax Key: A major      We three kings of Orient are: bearing gifts we traverse afar   Field and fountain, moor and mountain - following yonder star.   O star of wonder, star of night; star with royal beauty bright,   Westward leading, still proceeding, guide us to Thy perfect light.
$9.99 ≈
9.05€
We Three Kings (Sax Trio: ATB)
We Three Kings (Sax Trio: ATB)
#
3 Saxophones (trio)
#
INTERMÉDIAIRE
#
Noël
#
John Henry Hopkins, Jr
#
John A
#
We Three Kings
#
John A. Dempsey
#
SheetMusicPlus
Saxophone Trio,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - SKU: A0.524095 Composed by John Henry Hopkins, Jr., Enriq...
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Saxophone Trio,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - SKU: A0.524095 Composed by John Henry Hopkins, Jr., Enrique Granados. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. 18 pages. John A. Dempsey #4757893. Published by John A. Dempsey (A0.524095). In this festive woodwind trio for alto sax, tenor sax and baritone sax, the warm, evocative Christmas carol We Three Kings of Orient Are follows a musical path that merges with the wintry road leading to Enrique Granados' delicately beautiful piece Oriental.  A bit of holiday serendipity!  Recommended for Christmas concerts, recitals, traditional church services and other seasonal worship events; also provides a rich atmosphere for Christmas plays, pageants and programs.  14 pages of music (that includes the score and separate two-page parts for each sax).  Concert Key: F major.  Alto Sax Key: D major.  Tenor Sax Key: G major.  Baritone Sax Key: D major   We three kings of Orient are: bearing gifts we traverse afar   Field and fountain, moor and mountain - following yonder star.   O star of wonder, star of night; star with royal beauty bright,   Westward leading, still proceeding, guide us to Thy perfect light.
$9.99 ≈
9.05€
We Three Kings (Trio for Flute, Tenor Sax and Piano)
We Three Kings (Trio for Flute, Tenor Sax and Piano)
#
Saxophone Tenor et Piano
#
INTERMÉDIAIRE
#
Noël
#
John Henry Hopkins, Jr
#
John A
#
We Three Kings
#
John A. Dempsey
#
SheetMusicPlus
Small Ensemble Flute,Piano,Tenor Saxophone - Level 3 - SKU: A0.524965 Composed by John Henry Hopkins, Jr., Enrique Granados. Arranged by John A. Dempsey...
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Small Ensemble Flute,Piano,Tenor Saxophone - Level 3 - SKU: A0.524965 Composed by John Henry Hopkins, Jr., Enrique Granados. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. Score and parts. 21 pages. John A. Dempsey #6527181. Published by John A. Dempsey (A0.524965). Arranged as a festive trio for flute, tenor sax and piano, the warm, evocative Christmas carol We Three Kings follows a musical path that merges with the wintry road leading to Enrique Granados' delicately beautiful piece Oriental.  A bit of holiday serendipity! Recommended for Christmas plays, pageants and programs, holiday recitals and Christmas concerts as well as traditional Christmas church services and other seasonal worship events, as a prelude, postlude, an offertory, interlude, Christmas play overture, silent prayer accompaniment and special music.  Concert Key (Piano): G minor.  Flute Key: G minor.  Tenor Sax Key: A minor.  17 pages of music (that includes separate two-page parts for flute and tenor sax)      We three kings of Orient are: bearing gifts we traverse afar   Field and fountain, moor and mountain - following yonder star.   O star of wonder, star of night; star with royal beauty bright,   Westward leading, still proceeding, guide us to Thy perfect light.
$11.99 ≈
10.86€
We Three Kings
We Three Kings
#
Trio à Cordes: violon, alto, violoncelle
#
INTERMÉDIAIRE
#
Noël
#
John Henry Hopkins Jr
#
Sandy McIntire
#
We Three Kings
#
Sandy McIntire
#
SheetMusicPlus
String Ensemble,String Trio Cello,Viola,Violin - Level 3 - SKU: A0.697724 Composed by John Henry Hopkins Jr. Arranged by Sandy McIntire. Christmas,Holid...
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String Ensemble,String Trio Cello,Viola,Violin - Level 3 - SKU: A0.697724 Composed by John Henry Hopkins Jr. Arranged by Sandy McIntire. Christmas,Holiday,Instructional,Sacred,Traditional. Score and parts. 17 pages. Sandy McIntire #6527051. Published by Sandy McIntire (A0.697724). We Three Kings, also known as The Quest of the Magi, was composed by Hopkins in 1857 for a Christmas pageant in New York City featuring three tenors each representing a king and singing a verse. This arrangement by McIntire for an Intermediate String Trio (Violin I and II and Cello) emphasizes the oriental origin of the Magi using modal variations of the tune. Each instrument is featured on a verse. Separate sheet music is provided for each instrument. The second violin part may be played on a viola.Although appropriate year round, this carol is particularly appropriate for Epiphany or Theophany which commemorates the visit of the Magi to the Christ Child.
$8.99 ≈
8.14€
We Three Kings Of Orient Are
We Three Kings Of Orient Are
#
3 Saxophones (trio)
#
FACILE
#
Noël
#
John Henry Hopkins Jr
#
Gert Th
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We Three Kings Of Orient Are
#
Gert Th. Walter
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Alto Saxophone,Tenor Saxophone - Level 2 - SKU: A0.679539 Composed by John Henry Hopkins Jr. Arranged by Gert Th. Walter...
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Woodwind Ensemble,Woodwind Trio Alto Saxophone,Tenor Saxophone - Level 2 - SKU: A0.679539 Composed by John Henry Hopkins Jr. Arranged by Gert Th. Walter. Children,Christian,Christmas,Praise & Worship. 3 pages. Gert Th. Walter #3590029. Published by Gert Th. Walter (A0.679539). Very easy arrangement, but not only for pupil and beginners.
$2.99 ≈
2.71€
Five Christmas Songs - Saxophone Trio with optional Piano accompaniment
Five Christmas Songs - Saxophone Trio with optional Piano accompaniment
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3 Saxophones (trio)
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FACILE
#
Traditional
#
Bragi Thor Valsson
#
Five Christmas Songs - Saxopho
#
Arctic Dragon
#
SheetMusicPlus
Saxophone Trio,Woodwind Ensemble Alto Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1434634 Composed by Traditional. Arranged by Bragi Thor Valsson. 19t...
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Saxophone Trio,Woodwind Ensemble Alto Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1434634 Composed by Traditional. Arranged by Bragi Thor Valsson. 19th Century,Christian,Christmas,Religious,Sacred. 52 pages. Arctic Dragon #1014763. Published by Arctic Dragon (A0.1434634). Arrangements of the following five Christmas songs for Saxophone Trio (alto sax, alto sax, tenor sax) with Piano Accompaniment:God Rest You, Merry GentlemenHark, The Herald Angels SingIn The Bleak MidwinterIt Came Upon The Midnight ClearWe Three KingsA full score is provided for each song in addition to individual parts.
$44.99 ≈
40.74€
We Three Kings - Saxophone Trio with optional Piano accompaniment
We Three Kings - Saxophone Trio with optional Piano accompaniment
#
3 Saxophones (trio)
#
FACILE
#
John Henry Hopkins Jr
#
Bragi Thor Valsson
#
We Three Kings - Saxophone Tri
#
Arctic Dragon
#
SheetMusicPlus
Saxophone Trio,Woodwind Ensemble Alto Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1431086 Composed by John Henry Hopkins Jr. Arranged by Bragi Thor Va...
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Saxophone Trio,Woodwind Ensemble Alto Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1431086 Composed by John Henry Hopkins Jr. Arranged by Bragi Thor Valsson. 19th Century,Christian,Christmas,Religious,Sacred. 12 pages. Arctic Dragon #1011559. Published by Arctic Dragon (A0.1431086). An arrangement of the Christmas song We Three Kings for Saxophone Trio (alto sax, alto sax, tenor sax) with optional Piano accompaniment. A full score is provided in addition to individual parts.
$11.99 ≈
10.86€
We Three Kings (Sax Quartet AATB)
We Three Kings (Sax Quartet AATB)
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Quatuor de Saxophones: 4 saxophones
#
INTERMÉDIAIRE
#
Noël
#
John H
#
Jordan Grigg
#
We Three Kings
#
Jordan Grigg
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - SKU: A0.863941 Composed by John H. Hopkins Jr. Arranged by...
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Woodwind Ensemble,Woodwind Trio Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 3 - SKU: A0.863941 Composed by John H. Hopkins Jr. Arranged by Jordan Grigg. Christmas,Concert,Instructional,Standards. 7 pages. Jordan Grigg #3396065. Published by Jordan Grigg (A0.863941).
$3.95 ≈
3.58€
We Three Kings - Tenor Trio & Piano - 3 Prints by GENTRI - Piano/Vocal, Singer Pro
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Piano, Voix
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GENTRI
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We Three Kings - Tenor Trio &
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Musicnotes
Performed by: GENTRI: We Three Kings - Tenor Trio & Piano Digital Sheetmusic plus an interactive, downloadable digital sheet music file, scoring: Piano/Voca...
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Performed by: GENTRI: We Three Kings - Tenor Trio & Piano Digital Sheetmusic plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal;Singer Pro, instruments: Tenor Voice 1;Tenor Voice 2;Tenor Voice 3;Piano; 10 pages -- Christmas~~Christmas - Religious~~Holiday & Special Occasion
$2.99 ≈
2.71€
We Three Kings : Vocal Trio with Solos & Ukulele (or other fretted instruments)
We Three Kings : Vocal Trio with Solos & Ukulele (or other fretted instruments)
Voice,Soprano Voice,Alto Voice,Tenor Voice,Baritone Voice,Bass Voice,Voice Duet,Guitar,Ukulele,Voice Trio
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Noël
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Folklorique/Traditionel
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Traditional
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M
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We Three Kings : Vocal Trio wi
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Vocal Works
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SheetMusicPlus
Composed by Traditional. Arranged by M. Ryan Taylor. Folk, Christmas. Lead Sheet, Score. 2 pages. Published by Vocal Works (S0.409641). - Lead Sheet,Score - Fol...
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Composed by Traditional. Arranged by M. Ryan Taylor. Folk, Christmas. Lead Sheet, Score. 2 pages. Published by Vocal Works (S0.409641). - Lead Sheet,Score - Folk,Christmas - Vocal Works
$3.99 ≈
3.61€
"What Carol Is This?" (A Christmas Carol Medley/Mashup)
"What Carol Is This?" (A Christmas Carol Medley/Mashup)
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Chorale TTBB
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Various, Traditional
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Ash
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"What Carol Is This?"
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Music by Ash
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - SKU: A0.919859 Composed by Various, Traditional. Arranged by Ash. A Cappella,Christmas,Sacred,Spiritual. Octavo. 21 page...
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Choral Choir (TTBB) - Level 4 - SKU: A0.919859 Composed by Various, Traditional. Arranged by Ash. A Cappella,Christmas,Sacred,Spiritual. Octavo. 21 pages. Music by Ash #6591569. Published by Music by Ash (A0.919859). A unique, compelling, and show-stopping 7-minute medley/mashup of Christmas Carols for a cappella ensembles!Christmas Carols included are (in order of appearance):O Come, O Come, EmmanuelWe Three KingsLittle Drummer BoyMary, Did You Know?What Child Is This?Silent NightHoly NightCarol of the Bells (brief)Joy to the WorldThe First Noeland Do You Hear What I Hear? (brief)General Details4 main voice parts with solo line(s)Divisi in T1 and T2 linesSolo(s) throughout entire medley; works great to have different soloists for each section/songOptional trio for We Three Kings and optional duet for The First NoelMinimum of 8 voices requiredWell-suited for small ensembles (8-16 voices), large choruses (100+), or in betweenDuration: approx. 7:00Vocal RangesSolo(s): B2-C5Tenor 1: C3-C5Tenor 2: C3-F#4Baritone: A2-E4Bass: E2-D4 Looking for alterations for your ensemble? Contact ash@musicbyash.com.www.MusicByAsh.com
$3.50 ≈
3.17€
We Three Kings of Orient Are (Trio for Alto Sax, Tenor Sax and Piano)
We Three Kings of Orient Are (Trio for Alto Sax, Tenor Sax and Piano)
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Saxophone Tenor et Piano
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Noël
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Enrique Granados, John Henry H
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John A
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We Three Kings of Orient Are
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John A. Dempsey
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SheetMusicPlus
Composed by Enrique Granados, John Henry Hopkins, Jr. Arranged by John A. Dempsey. Christian, Spiritual, Sacred, Christmas, Recital. Score, Set of Parts. 21 pag...
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Composed by Enrique Granados, John Henry Hopkins, Jr. Arranged by John A. Dempsey. Christian, Spiritual, Sacred, Christmas, Recital. Score, Set of Parts. 21 pages. Published by John A. Dempsey (S0.253743). - Score,Set of Parts - Christian,Spiritual,Sacred,Christmas,Recital - John A. Dempsey
$11.99 ≈
10.86€
America's Favorite Christmas Carols arranged for Brass
America's Favorite Christmas Carols - Brass
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Ensemble de cuivres
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FACILE
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Musique Sacrée
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Various
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Colin Kirkpatrick
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2nd trumpet in B flat
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America's Favorite Christmas C
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Colin Kirkpatrick Publications
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SheetMusicPlus
Brass Ensemble - Level 2 - SKU: A0.522189 Composed by Various. Arranged by Colin Kirkpatrick. Christian,Christmas,Praise & Worship,Sacred. Score and par...
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Brass Ensemble - Level 2 - SKU: A0.522189 Composed by Various. Arranged by Colin Kirkpatrick. Christian,Christmas,Praise & Worship,Sacred. Score and parts. 129 pages. Colin Kirkpatrick Publications #6403993. Published by Colin Kirkpatrick Publications (A0.522189). These arrangements of favorite Christmas carols are sure to brighten up your next Christmas event. The publication consists of full scores for each hymn plus separate instrumental parts and an optional simplified keyboard part. All the arrangements are in four parts, reflecting the traditional SATB voicing. The parts include 1st trumpet in B flat; 2nd trumpet in B flat; horn in F; horn in E flat; trombone and optional tuba; optional bass in B flat and bass in E flat. There are also two optional baritone parts in B flat (TC) and C (BC) in case you need them. They are the same as the tenor part. In some carols, you might prefer to assign any baritones to doubling the bass or doubling the melody an octave lower. The baritone part in C is also playable by trombone. The trombone and tuba parts appear on a single staff. Of course, you can use any number of instruments to a particular part. The optional keyboard part has been simplified and whenever possible limited to single notes in the left hand part and no more than two-note chords in the right. Using the keyboard part, you can use the arrangements as solos, duets or trios. The scores and all the parts are contained in a single 129-page PDF file.Because the music has been set in brass-friendly keys, the arrangements are not necessarily with other Colin Kirkpatrick arrangements published by Glyn Joseph Editions. This collection includes the following favorite carols: Angels We Have Heard On High (Gloria); Lo, How a Rose E’er Blooming (Es ist ein Ros entsprungen); O Come, O Come Emmanuel (Veni Emmanuel); The First Noel; Ding Dong! Merrily on High (Bransle de l’Officiel); O Come All Ye Faithful (Adeste Fidelis); Hark! The Herald Angels Sing (Mendelssohn); Go Tell It on the Mountain; O Little Town of Bethlehem (St. Louis); O Holy Night (Cantique de Noël); Silent Night (Stille Nacht); Away in a Manger (Mueller); Joy to the World (Antioch); O Christmas Tree (Tannenbaum); We Three Kings (Kings of Orient); I Heard the Bells on Christmas Day (Waltham); What Child is This? (Greensleeves); God Rest You Merry, Gentlemen; Good King Wenceslas (Tempus Adest Floridum) and We Wish You a Merry Christmas.
$19.99 ≈
18.10€
Epiphany Songs by Connie Boss
Epiphany Songs by Connie Boss
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Noël
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Connie Boss
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Connie Boss
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Epiphany Songs by Connie Boss
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Connie Boss
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SheetMusicPlus
Small Ensemble Alto Voice,B-Flat Trumpet,Bass Voice,Cello,Flute,Horn,Piano,Soprano voice,Tenor Voice,Violin - Level 2 - SKU: A0.1151843 Composed by Conn...
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Small Ensemble Alto Voice,B-Flat Trumpet,Bass Voice,Cello,Flute,Horn,Piano,Soprano voice,Tenor Voice,Violin - Level 2 - SKU: A0.1151843 Composed by Connie Boss. Arranged by Connie Boss. Christmas. Score and parts. 161 pages. Connie Boss #752046. Published by Connie Boss (A0.1151843). This is a collection of arrangements of public domain songs and original compositions by Connie Boss. There are a total of 7 songs in this book. There a variety of voices SATB, SSAA and one trio. All but two have both SATB and SSAA music included. Questions or requests email cdboss@cvalley. To hear all of the songs, click on the YouTube Link Songs included in this book are: A Baby's Hope - original Brightest and Best In the Stillness of the Night - original The First Noel They Saw a Star - original - trio We Three Kings What Child is This.
$10.00 ≈
9.06€
The Best Hymns of All Time (Violin, Cello and Piano) Book 1
The Best Hymns of All Time (Violin, Cello and Piano) Book 1
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Musique Sacrée
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Various
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Colin Kirkpatrick
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The Best Hymns of All Time
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Colin Kirkpatrick Publications
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SheetMusicPlus
Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - SKU: A0.522286 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worshi...
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Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - SKU: A0.522286 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 50 pages. Colin Kirkpatrick Publications #6596257. Published by Colin Kirkpatrick Publications (A0.522286). We’re really excited to present our collection of sixty of the best-loved hymns ever composed, presented in three books. Arranged for violin, cello and piano they are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. To make the music accessible to less experienced string players, the range of the notes has been kept fairly low so that many of the arrangements can be played in first position, though more experienced players would probably want to avoid open strings. The cello part does not follow the bass but instead plays an independent tenor line using to the mid to upper range of the instrument. The top note in the cello part is the F sharp above the bass clef. The piano part has been kept as straightforward as possible with the left hand playing the bass part. To extend the possible uses of this collection, there’s also a melody part printed in the bass clef, an octave lower than the violin part. This could of course be used for cello solo or indeed for any other bass clef instrument. Included in the 50-page PDF file is an optional bass part which follows the piano left hand and could be used for string bass or bass guitar. With such a small ensemble, a conductor is hardly necessary and to save on costs the pianist reads from the score. For this reason, the piano part in the score has been slightly enlarged. Book 1 contains the following twenty popular hymns: Abide with Me (Eventide); All Glory, Laud and Honor (St. Theodulph); All Hail the Power of Jesus' Name (Coronation); All Through the Night (Ar Hyd y Nos); City of God, How Broad and Far (Richmond - Haweis); Fairest Lord Jesus (Crusader’s Hymn); Fight the Good Fight (Duke Street); Forth in Thy Name (Angel's Song, Song 34); Guide Me, O Thou Great Redeemer (Cwm Rhondda); He who Would Valiant Be (Monk’s Gate); Holy, Holy, Holy! (Nicea); I Heard the Voice of Jesus Say (Kingsfold); Jesu, Lover of my Soul (Aberystwyth); Nearer my God to Thee (Bethany); Now Thank We All Our God (Nun Danket); O Worship the King (Hanover); Rejoice, the Lord is King (Darwall’s 148th); Soldiers of Christ, Arise (Diademata); The Lord’s my Shepherd (Crimmond); What a Friend we Have in Jesus (Converse). The music has been set in string-friendly keys so they are not compatible with the brass or wind publications of the same name. The audio samples include Abide with Me; All Through the Night; I Heard the Voice of Jesus Say; Nearer my God to Thee and What a Friend we Have in Jesus.
$15.99 ≈
14.48€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
21.72€
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