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Prelude In G Major
Not classified 107

Piano & keyboards
Piano solo 142
Organ 32
Easy Piano 19
Piano, Voice 11
C Instruments 4

Piano Trio: piano, violin, cello 4
Piano Accompaniment 4
Piano, Vocal and Guitar 2
Piano Quartet: piano, violin, viola, cello 1
Harpsichord 1
Piano Quartet: piano, 2 violins, cello 1

+ 6 instrumentations

- Retract

Guitars
Guitar notes and tablatures 16
Guitar 5
Piano, Guitar (duet) 3
Banjo 2
4 Guitars (Quartet) 2

Voice
Choral SATB 2
Tenor voice, Piano 2
Choral 2-part 1

Woodwind
Tenor Saxophone and Piano 19
Flute and Piano 16
Soprano Saxophone and Piano 12
Oboe, Piano (duet) 8
Saxophone Quartet: 4 saxophones 7

Clarinet and Piano 7
Flute, trombone and piano 7
3 Saxophones (trio) 5
Flute 5
2 Clarinets, Piano 4
2 Flutes, Piano 4
Flute, Clarinet, Piano (trio) 4
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 4
Clarinet, Violin (duet) 4
Flute, Viola and Piano 4
Flute, Violin and Violoncello 3
Flute, Oboe, Clarinet, Bassoon 3
Flute, Oboe, Clarinet (trio) 3
Alto Saxophone and Piano 3
Flute, Violin, Piano 3
Flute Quartet: 4 flutes 2
Flute Quintet : 5 flutes 2
Clarinet, Cello, Piano (trio) 2
Clarinet Quartet: 4 clarinets 2
Clarinet 2
Clarinet Ensemble 2
Flute, Violoncello 2
Flute, Cello, Piano (trio) 2
Flute and Guitar 1
Descant (Soprano) Recorder 1
Flute, Cello, Guitar 1
Alto Saxophone 1
Baritone Saxophone, Piano 1
Clarinet Quintet: 5 clarinets 1
Flute, Violin, Violoncello and Piano 1
English horn, Piano 1
Saxophone 1
Oboe 1
Oboe, Cello 1
Clarinet, trumpet and piano 1
3 Clarinets (trio) 1
Oboe, Bassoon (duet) 1
Flute, Oboe, Piano (trio) 1
Saxophone (band part) 1
Flute, Violin 1
Clarinet, Trombone (duet) 1
Flute ensemble 1
Bass Clarinet, Piano 1
Clarinet, Saxophone, Piano 1
2 Flutes (duet) 1
Clarinet, Cello (duet) 1

+ 46 instrumentations

- Retract

Woodbrass
Brass Quartet: 2 trumpets, horn, trombone 15
Trumpet, Piano 11
Trombone and Piano 11
Euphonium, Piano (duet) 3

Brass Quartet: 4 trumpets 2

Brass Quartet: 4 trombones 1
Tuba 1
Trumpet, Trombone (duet) 1
Horn, Cello (duet) 1
Trombone ensemble 1
English horn, Piano 1
Brass Quartet: 4 horns 1
2 Euphoniums and 2 Tubas 1
French Horn and Piano 1
Brass Quintet: 2 trumpets, horn, trombone, tuba 1

+ 10 instrumentations

- Retract

Strings
Violin and Piano 26
String Quartet: 2 violins, viola, cello 18
Cello 15
Cello, Piano 12
Viola, Piano 12

String Trio: violin, viola, cello 8
Violin 8
String Trio: 2 violins, cello 8
2 Cellos (duet) 5
String Trio: 3 violins 4
String quartet: 4 violins 3
4 Cellos 3
Violin, Cello (duet) 3
Viola 2
Double bass, Piano (duet) 2
Harp 2
Double Bass 1
2 Violins (duet) 1
Viola, Cello (duet) 1
Violin, Viola (duet) 1
Viola and Bassoon 1
Violin (band part) 1
Violin, Clarinet, Piano (trio) 1
Violin, Bassoon (duet) 1
Violin ensemble 1

+ 20 instrumentations

- Retract

Percussion & orchestra
String Orchestra 6
Brass ensemble 3
Orchestra 3
Concert band 1
Handbells 1

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Prelude In G Major

Euphonium, Piano (duet)

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3 sheet music found

Scriabin: Prelude Op. 11 No. 2 for Baritone Horn & Piano

Scriabin: Prelude Op. 11 No. 2 for Baritone Horn & Piano #Euphonium, Piano (duet) #INTERMEDIATE #Alexander Scriabin #James M #Scriabin: Prelude Op. 11 No. 2 #jmsgu3 #SheetMusicPlus

Euphonium,Piano - Level 3 - Digital Download SKU: A0.549481 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Ro...(+)

Euphonium,Piano - Level 3 - Digital Download SKU: A0.549481 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3500065. Published by jmsgu3 (A0.549481). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the Ã©tude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabinâ€™s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier Ã lumiÃ©res. It was a keyboard instrument that projected colored light onto a screen.

$19.95 ≈ 18.11€

Scriabin: Prelude Op. 11 No. 2 for Euphonium & Piano

Scriabin: Prelude Op. 11 No. 2 for Euphonium & Piano #Euphonium, Piano (duet) #INTERMEDIATE #Alexander Scriabin #James M #Scriabin: Prelude Op. 11 No. 2 #jmsgu3 #SheetMusicPlus

Euphonium,Piano - Level 3 - Digital Download SKU: A0.549480 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Ro...(+)

Euphonium,Piano - Level 3 - Digital Download SKU: A0.549480 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3500061. Published by jmsgu3 (A0.549480). Alexander Scriabin Op. 11 No. 2. Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the Ã©tude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabinâ€™s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier Ã lumiÃ©res. It was a keyboard instrument that projected colored light onto a screen.

$19.95 ≈ 18.11€

Bach-Gounod: Ave Maria for Baritone (or Euphonium) and Piano

Bach-Gounod: Ave Maria for Baritone (or Euphonium) and Piano #Euphonium, Piano (duet) #EASY #J S Bach-Gounod #Colin Kirkpatrick #Bach-Gounod: Ave Maria for Bar #Colin Kirkpatrick Publications #SheetMusicPlus

Euphonium,Piano - Level 2 - Digital Download SKU: A0.1310506 Composed by J S Bach-Gounod. Arranged by Colin Kirkpatrick. Instructional,Religious,Sacred,W...(+)

Euphonium,Piano - Level 2 - Digital Download SKU: A0.1310506 Composed by J S Bach-Gounod. Arranged by Colin Kirkpatrick. Instructional,Religious,Sacred,Wedding. Score and part. 7 pages. Colin Kirkpatrick Publications #899564. Published by Colin Kirkpatrick Publications (A0.1310506). This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favorite among instrumental players and often used in recitals or concert encores. This arrangement by Colin Kirkpatrick is ideal for the intermediate baritone or euphonium player. Solo parts are provided (a) in bass clef in which the range is from the lowest G on the staff to the E just above it and (b) in treble clef transposed for B flat instrument in which the range is from the A just below the treble staff to the F sharp on the top line. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the â€œcombinedâ€ piece was MÃ©ditation sur le Premier PrÃ©lude de Piano de S. Bach. Gounodâ€™s original arrangement transposed Bachâ€™s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-LÃ©opold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary.The version of Bach's prelude which Gounod used included the so-called Schwencke measure (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a â€œharmonic weaknessâ€ (or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.

$7.95 ≈ 7.22€