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PIANO Piano 8 Mains
Not classified 6

Piano & keyboards
1 Piano, 4 hands 76
2 Pianos, 4 hands 19
2 Pianos, 8 hands 15
Piano solo 5
Piano, Voice 3

1 Piano, 6 hands 3
Piano Trio: piano, violin, cello 1

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Choral SATB 1

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PIANO Piano 8 Mains

intermediate

Alto Saxophone and Piano

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3 sheet music found

Beethoven: Adagio from Sonata Pathetique for Alto Sax & Piano

Beethoven: Adagio from Sonata Pathetique for Alto Sax & Piano #Alto Saxophone and Piano #INTERMEDIATE #Classical #Ludwig van Beethoven #James M #piano concertos 1-5 #Beethoven: Adagio from Sonata #jmsgu3 #SheetMusicPlus

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.549639 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructi...(+)

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.549639 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 16 pages. Jmsgu3 #3516567. Published by jmsgu3 (A0.549639). Duration: ca 5:20, Score: 8 pages, solo part: 3 pages, piano part: 4 pages.One of Beethoven's finest and most famous works. Program for a recital, church meditation or school program.Bring your best espressivo and plan to rehearse the many subtle dynamic changes.Sonata PathÃ©tique Op. 13 First of all, this is an arrangement of the second movement of Beethovenâ€™s Sonata PathÃ©tique. It seems like Beethoven wrote this piece before becoming troubled by deafness. Published in 1799, it consequently remains one of the most celebrated pieces Beethoven ever wrote. As a result of its popularity, the movement was therefore performed by Karl Haas. Hass recorded it for a popular radio show called: Adventures in Good Music. Beethoven Background Ludwig van Beethoven (1770 â€“1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. Thatâ€™s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna for the rest of his life. In his late 20s, it seems like his hearing certainly began to decline. It slowly declined until consequently, he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethovenâ€™s life into three periods. Period 1 begins with Beethovenâ€™s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies, therefore, belong to this period. Other important works also belong here: the first six string quartets and the Sonata PathÃ©tique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 â€“ 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony, he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous GroÃŸe Fuge) and the final five sonatas for piano. Register for free lifetime revisions and updates at www.jamesguthrie.co.

$24.95 ≈ 22.47€

Alto Sax - "And Can It Be?" Theme and Variations

Alto Sax - "And Can It Be?" Theme and Variations #Alto Saxophone and Piano #INTERMEDIATE #Sacred music #Lyrics: Charles Wesley, Music: #Dan Cutchen #Alto Sax - "And Can It Be?" Th #Dan Cutchen Music #SheetMusicPlus

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and publishe...(+)

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Easter,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #3115903. Published by Dan Cutchen Music (A0.844328). This arrangement of And Can It Be That I Should Gain? is for alto saxophone solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Alto Sax - And Can It Be? Theme and Variations-Accompaniment Track, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year. This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,â€™ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Brayâ€™s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Brayâ€™s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesleyâ€™s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/BSX9yYcNY2E

$7.00 ≈ 6.30€

Ac-cent-tchu-ate The Positive

Ac-cent-tchu-ate The Positive #Alto Saxophone and Piano #INTERMEDIATE #Harold Arlen #Cathy Stamegna #Ac-cent-tchu-ate The Positive #Cathy Stamegna #SheetMusicPlus

Large Ensemble Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.780779 Composed by Harold Arlen. Arranged by Cathy Stamegna. Blues,Children,Cont...(+)

Large Ensemble Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.780779 Composed by Harold Arlen. Arranged by Cathy Stamegna. Blues,Children,Contemporary,Film/TV,Pop. Score and part. 8 pages. Cathy Stamegna #5324315. Published by Cathy Stamegna (A0.780779). Accentuate the Positive - or - Ac-Cent-Tchu-Ate the Positive (Alto Saxophone Solo, Chords, Piano Accompaniment). This arrangement begins and ends with a few measures of slow blues, while the body of the arrangement remains true to the traditional. Chords included for guitar or mallet players to join in. Recorded by Bing Crosby and The Andrews Sisters, Aretha Franklin, and Paul McCartney among others, this 1945 Academy Award nominee (for Best Original Song) is still a wonderful message for today. Set of Parts. Concert Key: F; Alto Saxophone Range: A4-C6.

$4.99 ≈ 4.49€