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You've selected:
HARP Alto Saxophone
avanced
Sheetmusic to print
10 sheet music found
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1
Lannigan’s Ball, Duet for Eb Alto Saxophone and Harp
Lannigan’s Ball, Duet for Eb Alto Saxophone and Harp
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Traditional Irish Jig
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Serena O’Meara
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Lannigan’s Ball, Duet for Eb
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O'Meara Music
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SheetMusicPlus
Instrumental Duet Alto Saxophone,Harp,Instrumental Duet - Level 4 - Digital Download SKU: A0.808052 Composed by Traditional Irish Jig. Arranged by Serena...
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Instrumental Duet Alto Saxophone,Harp,Instrumental Duet - Level 4 - Digital Download SKU: A0.808052 Composed by Traditional Irish Jig. Arranged by Serena O’Meara. Celtic,Folk,Holiday,Irish,Traditional,Wedding. Score and parts. 23 pages. O'Meara Music #6644683. Published by O'Meara Music (A0.808052). Nothing gets a party going like an Irish Jig. Lannigan’s Ball has been played since the 1800’s – with numerous lyrics, melodies, titles, interpretations, and many stories as to its origin. This arrangement dances along with 5 verses and 6 choruses. The Harp and Eb Alto Saxophone are partners within the Chorus. You will receive the Score, plus separate Parts. The Harp part is playable on either Lever or Pedal Harps.
$12.00
O Holy Night, Duet for Eb Alto Saxophone & Lever Harp
O Holy Night, Duet for Eb Alto Saxophone & Lever Harp
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Adolphe-Charles Adam
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Serena O'Meara
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pitches
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O Holy Night, Duet for Eb Alto
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O'Meara Music
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SheetMusicPlus
Alto Saxophone,Instrumental Duet,Lever Harp - Level 4 - Digital Download SKU: A0.1394241 Composed by Adolphe-Charles Adam. Arranged by Serena O'Meara. Ch...
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Alto Saxophone,Instrumental Duet,Lever Harp - Level 4 - Digital Download SKU: A0.1394241 Composed by Adolphe-Charles Adam. Arranged by Serena O'Meara. Christian,Christmas,Holiday,Romantic Period,Sacred. 17 pages. O'Meara Music #977716. Published by O'Meara Music (A0.1394241). The full range of the Lever Harp provides a beautiful complement to the melody written by Adolphe Adam in 1847. The melody of the two verses varies in rhythm & pitches. Harp Lever changes are marked.
$18.00
Bwv 1068: Air 2nd Movement - 4 Saxophones (Soprano, Alto, Tenor, Baritone)
Bwv 1068: Air 2nd Movement - 4 Saxophones (Soprano, Alto, Tenor, Baritone)
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Classical
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Johann Sebastian Bach
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Anne L Christopherson GRSM ARC
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Bwv 1068: Air 2nd Movement - 4
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Music-Scores.com
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SheetMusicPlus
Small Ensemble Alto Saxophone,Baritone Saxophone,Piano,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.721412 Composed by Johann S...
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Small Ensemble Alto Saxophone,Baritone Saxophone,Piano,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.721412 Composed by Johann Sebastian Bach. Arranged by Anne L Christopherson GRSM ARCM. Concert,Contemporary,Wedding. Score and parts. 6 pages. Music-Scores.com #4604969. Published by Music-Scores.com (A0.721412). Air on G from 3rd Orchestral Suite. The Hamlet ad, also the inspiration for A Whiter Shade of Pale. Arranged for Sax Quartet of Soprano, Alto, Tenor and Baritone. In original key of D major, this produces 5 sharps for Baritone and Alto.Playing Time 4 minutes 10 seconds with repeats.Arranged by Anne L Christopherson GRSM ARCM at www.music-scores.com
$6.95
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
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Thomas Oboe Lee
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Focus on Grace ... A concerto
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Thomas Oboe Lee
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SheetMusicPlus
Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and p...
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Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #2019061. Published by Thomas Oboe Lee (A0.869266). Instrumentation: Alto sax solo and orchestra, 2222-4231-perc-drum set-strings Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99
Cortège: Mvt. II from Petit Suite, for Woodwind Choir
Cortège: Mvt. II from Petit Suite, for Woodwind Choir
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Classical
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Claude Debussy
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Joel Denney
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Cortège: Mvt. II from Petit S
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Joel Denney Music
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SheetMusicPlus
Woodwind Ensemble Alto Flute,Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bassoon,English Horn,Oboe,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1...
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Woodwind Ensemble Alto Flute,Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bassoon,English Horn,Oboe,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1103553 Composed by Claude Debussy. Arranged by Joel Denney. Chamber,Classical. 72 pages. Joel Denney Music #706823. Published by Joel Denney Music (A0.1103553). Composed in 1889 for piano four hands by Claude Debussy. Orchestrated in 1907 by Henri Büsser. Arranged for woodwind choir + percussion in 2022 by Joel Denney. Key changed from E to Eb. Instrumentation: 4 flutes, alto flute, 2 oboes, English Horn/cor anglais, 2 bassoons, 3 Bb clarinets (all divisi), bass clarinet (divisi), 2 alto saxophones, tenor saxophone (divisi), baritone saxophone, harp, timpani, triangle, suspended cymbal and crash cymbal, opt. bells. Parts are extensively crossed cued with important solo/soli sections for performances where instrumentation is incomplete. This work was arranged for a large concert band woodwind section, but may also be played one-on-a-part with the following exceptions: Bb (soprano) clarinet parts each require at least two players due to extensive divisi. Two bass clarinets and two tenor saxophones are recommended, but not required. This PDF download includes an 11x17 conductor's score (recommended), an 8.5x11 study score, and 8.5x11 individual parts.
$9.99
Theme From "bewitched"
Theme From "bewitched"
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Contemporary
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Howard Greenfield and Jack Kel
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Daryl McKenzie
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Theme From "bewitched"
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Daryl McKenzie
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SheetMusicPlus
Large Ensemble Alto Saxophone,Bass Voice,Cello,Drums,Guitar,Keyboard,Tenor Saxophone,Trombone,Trumpet,Viola,Violin - Level 4 - Digital Download SKU: A0.71812...
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Large Ensemble Alto Saxophone,Bass Voice,Cello,Drums,Guitar,Keyboard,Tenor Saxophone,Trombone,Trumpet,Viola,Violin - Level 4 - Digital Download SKU: A0.718127 Composed by Howard Greenfield and Jack Keller. Arranged by Daryl McKenzie. Contemporary. Score and parts. 33 pages. Daryl McKenzie #4777917. Published by Daryl McKenzie (A0.718127). Arrangement of the classic TV theme for Studio Band with Strings (Reed 1 Alto Sax/Flute, Reed 2 Tenor Sax, Trumpet, Trombone, 2 Keyboards, Guitar, Acoustic Bass, Drums, Vln 1, Vln2, Via, Vcl) Note Keyboard 2 included parts for Xylophone and Harp. Duration: 1min 30 secMore arrangements by Daryl McKenzie: https://www.sheetmusicplus.com/publishers/daryl-mckenzie/6128
$39.99
Love Is Just Around The Corner
Love Is Just Around The Corner
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Contemporary
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Coleman Hawkins
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Love Is Just Around The Corner
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Jon Harpin
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Double Bass,Drums,Guitar,Piano,Tenor Saxophone,Trombone,Trumpet,Voice - Level 4 - Digital Download SKU: A0.1...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Double Bass,Drums,Guitar,Piano,Tenor Saxophone,Trombone,Trumpet,Voice - Level 4 - Digital Download SKU: A0.1009077 By Coleman Hawkins. By Leo Robin and Lewis E. Gensler. Arranged by Arranged by Neal Hefti Transcribed By Jon Harpin. Contemporary. Score and parts. 34 pages. Jon Harpin #6339017. Published by Jon Harpin (A0.1009077). This version of Love Is Just Around The Corner comes from the 1962 album, Sinatra and Swingin' Brass, arranged by Neal Hefti. This straight ahead swinging chart features typical call and response section figures as well as a memorable bari-bass trom and string bass ostinato.
$12.99
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
Pitch and Rhythm - Treble Clef, Diatonic (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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I encourage you to use both
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Pitch and Rhythm - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone...
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Large Ensemble Alto Saxophone,Banjo,Baritone Saxophone,Clarinet,English Horn,Flute,Guitar,Harpsichord,Marimba,Oboe,Organ,Piano,Soprano Saxophone,Tenor Saxophone,Treble Clef Instrument,Trumpet,Ukulele,Vibraphone,Violin,Xylophone - Level 4 - Digital Download SKU: A0.931832 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 124 pages. Dots and Beams #4269045. Published by Dots and Beams (A0.931832). Dots and Beams creates a wide variety of reading materials for musicians at all skill levels and for all instruments. The goal of Dots and Beams is to break music down into its elements and provide reading material focused on systematically developing each element in isolation. These books can be used in any number of ways and are an invaluable tool for creative musicians who enjoy inventing new exercises. In addition, these books make excellent, thoughtfully graduated sight-reading material for a wide range of ability levels from student to professional. This collection presents its user with a series of notes on a treble staff in the context of increasingly complex rhythmic material. The pitch material in this book is entirely diatonic with a space left at the beginning of each system in which one can write a key signature. Early chapters use only notes on the staff while subsequent chapters begin to add notes on ledger lines above and below the staff. Each chapter contains two exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. From chapter to chapter the conceptual difficulty of the rhythmic material increases. The exercises in this collection are intentionally aimless, wandering, and difficult to internalize. They resemble standard melodies on the surface but don’t emphasize any particular tonal centre or harmonic movement. They are designed this way for several reasons. In keeping the melodic material as non-specific as possible the door is left open for the materials to be used in conjunction with any number of exercises, something that would be much more difficult with a composition that dictates the harmonic, melodic, and rhythmic phrasing. It also allows the user to read the exercises in any key signature, making this a great tool to help students learn to think in different keys. The unpredictability of these exercises also forces the user to process every note and rhythm as its own event without relying on pattern recognition or melodic and harmonic tendencies to help in figuring out the notes and rhythms. While I absolutely agree that the skill of predicting music’s direction from harmonic and melodic cues is an essential skill for any musician to develop, I think we will all agree that resources for this type of reading practice are already abundant. This collection, on the other hand, is designed to develop the user’s ability to process raw musical data. Once this skill is strengthened and internalized it is my belief that the act of reading more predictable and typically melodic music will be made much easier as the processing of notes and rhythms will be second nature, allowing the musician to focus on musicality. This book is a supplement to practising sight-reading using real music, not a replacement; I encourage you to use both. If this material is being used to practice sight-reading, it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Some suggestions for how to use this book include: Read each exercise in all 15 key signatures from 7 flats to 7 sharps. Practice key changes by writing in a different key signature for each system. Increase the challenge of the previous exercise by using a metronome on weak beats. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4. Be creative with this one, the possib.
$10.00
Unchain My Heart
Unchain My Heart
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Soul/R&B
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Ray Charles
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Nicholas Goulding
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Unchain My Heart
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Nicholas Goulding
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SheetMusicPlus
Small Ensemble Alto Saxophone,Bass Guitar,Drum Set,Piano,Tenor Saxophone,Voice - Level 4 - Digital Download SKU: A0.887557 By Ray Charles. By Bobby Sharp...
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Small Ensemble Alto Saxophone,Bass Guitar,Drum Set,Piano,Tenor Saxophone,Voice - Level 4 - Digital Download SKU: A0.887557 By Ray Charles. By Bobby Sharp and Teddy Powell. Arranged by Nicholas Goulding. R & B,Soul. Score and parts. 38 pages. Nicholas Goulding #6675935. Published by Nicholas Goulding (A0.887557).
$19.99
Chattanooga Choo Choo
Chattanooga Choo Choo
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Contemporary
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Harpers Bizarre
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Katie Brown
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1 x baritone saxophone
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Chattanooga Choo Choo
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katiesaxbrown
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SheetMusicPlus
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.986727 By Harpers Bizarre. By Harry Warren. Arranged by Katie Brown. Contemporary. 35 pages. Katie...
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Woodwind Ensemble - Level 4 - Digital Download SKU: A0.986727 By Harpers Bizarre. By Harry Warren. Arranged by Katie Brown. Contemporary. 35 pages. Katiesaxbrown #6370039. Published by katiesaxbrown (A0.986727). A great arrangement for ensembles containing players of differing abilities. Parts range from early intermediate to advanced level. Full Score, 12 parts: 2 x soprano saxophones, 6 x alto saxophones, 3 x tenor saxophones & 1 x baritone saxophone. Improvised solos (with optional written solos) for alto 1, tenor 2 & soprano 1.
$29.99
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