Download Digital Sheet Music of Mai Keyboard for Alto Saxophone and Piano

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Mai Keyboard
Not classified 443

Piano & keyboards
Big Note Piano 3,108
Organ 1,433
1 Piano, 4 hands 199
Easy Piano 178
Piano solo 161

2 Pianos, 4 hands 69
Keyboard 59
Piano, Voice 28
Piano, Vocal and Guitar 20
1 Piano, 6 hands 17
C Instruments 11
Accordion, Piano 4
2 Pianos, 8 hands 2
Piano Quartet: piano, violin, viola, cello 1
Accordion 1
Piano (band part) 1
Piano Trio: piano, violin, cello 1

+ 12 instrumentations

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Guitars
Melody line, (Lyrics) and Chords 25
2 Guitars (duet) 2
Piano, Guitar (duet) 1
Guitar 1
Guitar Tab, Voice, Bass, Drum 1

Voice
Choral SATB 28
Choral 3-part 14
Choral 2-part 5
Choral Unison 4
Choral TTBB 3

Voice, Guitar 1
Choral SSAA 1

+ 2 instrumentations

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Woodwind
Flute and Piano 23
Oboe, Piano (duet) 9
Clarinet and Piano 9
Tenor Saxophone and Piano 6
Alto Saxophone and Piano 3

Saxophone Quartet: 4 saxophones 3
Flute, Oboe, Clarinet, Bassoon 3
Soprano Saxophone and Piano 2
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 2
Baritone Saxophone, Piano 2
Flute, Violin, Piano 1
Flute, Oboe, Clarinet (trio) 1
Tenor Saxophone 1
Clarinet Quartet: 4 clarinets 1
Clarinet 1
English horn, Harp (duet) 1
Recorder Quartet 1
2 Clarinets (duet) 1
Oboe, Cello and Piano 1
Bass Clarinet, Piano 1
Saxophone ensemble 1
3 Saxophones (trio) 1
English horn, Piano 1

+ 18 instrumentations

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Woodbrass
Trumpet, Piano 9
Trombone and Piano 9
Tuba and Piano 4
French Horn and Piano 4
Euphonium, Piano (duet) 4

Brass Quartet 1
Brass quartet : 2 trumpets, trombone, tuba 1
English horn, Harp (duet) 1
English horn, Piano 1

+ 4 instrumentations

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Strings
Viola, Piano 9
Violin and Piano 9
Cello, Piano 7
String Quartet: 2 violins, viola, cello 6
Harp, Flute (duet) 2

String Trio: violin, viola, cello 1
Viola (band part) 1
Harp 1
Violin, Cello (duet) 1
2 Violins (duet) 1
String Trio: 3 cellos 1
Violin 1
2 Cellos (duet) 1
String Quintet: 2 violins, viola, cello, bass 1

+ 9 instrumentations

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Percussion & orchestra
Jazz Ensemble 92
Jazz combo 25
Concert band 23
Orchestra 23
String Orchestra 14

String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard 6
Big band 6
Marimba 5
Marching band 5
Handbells 5
Percussion Ensemble 3
Chamber Orchestra 2

+ 7 instrumentations

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Mai Keyboard

Alto Saxophone and Piano

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3 sheet music found

My Saxophone and Me (E flat version)

My Saxophone and Me (E flat version) #Alto Saxophone and Piano #BEGINNER #Colin Kirkpatrick #Lazy Days (No 4) #My Saxophone and Me #Colin Kirkpatrick Publications #SheetMusicPlus

Alto Saxophone,Piano - Level 1 - Digital Download SKU: A0.522194 Composed by Colin Kirkpatrick. Instructional,Standards. Score and part. 28 pages. Colin ...(+)

Alto Saxophone,Piano - Level 1 - Digital Download SKU: A0.522194 Composed by Colin Kirkpatrick. Instructional,Standards. Score and part. 28 pages. Colin Kirkpatrick Publications #3134129. Published by Colin Kirkpatrick Publications (A0.522194). My Saxophone and Me consists of fourteen short and delightful pieces written especially for absolute beginners up to students at elementary level. The book comes in two versions, one for B flat saxophones and the other for E flat instruments. However, for obvious reasons you cannot mix B flat and E flat instruments in the same group. The pieces are intended as supplementary material to your usual tutor books. The music can be used with any number of players and the pieces remain in the lower register. Several early pieces use only the notes B, A and G and the key of G major predominates. Six of the pieces use only half notes (minims) and quarter notes (crotchets). The low C, a tricky note for some beginners, has been avoided almost completely. On the one occasion it appears, the note C an octave above is given as optional. Although the pieces are arranged in approximate order of difficulty you can play them in any order you want, depending on the musical needs of the student. Your students are sure to enjoy these pieces, which are both easy on the fingers and easy on the ear! Several pieces have a few measures (bars) rest in the middle not only to give the player a break and add musical contrast but also to give the experience of counting empty bars during the music. When space allows, piano cues appear in the solo part. Some of the later pieces in the book have good performing potential and could be strung together in any order to create a small suite. Every piece has a short piano introduction so that the student can sense the tempo and musical style before playing. The keyboard accompaniments have been kept as simple as possible with the minimum number of notes. Dynamic markings (e.g. piano and mezzo-forte) are used from the start, but phrasing has been omitted from the solo part. This is because the teacher is usually in the best position to suggest phrasing within the physical capabilities of each student. Slurs have been employed sparingly and only when necessary. An MP3 file of all the piano accompaniments is also available as a separate item. You can find it here: https://www.sheetmusicplus.com/title/20679821The book includes a well-known folk lullaby from Wales and a lively folk song from Thailand which is known by all Thai people because itâ€™s taught in elementary schools throughout the country. The music has been converted into pdf files at 1,200 dpi which will produce professional looking printed copies of high quality. However, the output quality will also depend on your own printer settings and capabilities. The publication consists of a teacher's book (18 pages) and a student's book (8 pages) both contained in the same pdf file. The sample MP3 (click on the â€œListenâ€ button above) contains recordings of Nice â€˜n Easy (No 2); Lazy Days (No 4); Waltzing Around (No 7); Just a Minuet (No 11) and Donkey Trot (No 12). Colin Kirkpatrick studied at Londonâ€™s Royal College of Music. He followed a career in music education. He was a High School Music Director in London for about fifteen years and later became a Music Education Adviser for local government, with responsibility for training teachers and directing the instrumental teaching service. The work in education gave him many opportunities for composing. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA. He holds MA and PhD degrees. He was a High School Music Director for about fifteen years and then became a Music Education Adviser for local government, with the added responsibility for training teachers and overseeing the instrumental service. He has writte.

$5.95 ≈ 5.45€

Scriabin: Prelude Op. 11 No. 2 for Alto Sax & Piano

Scriabin: Prelude Op. 11 No. 2 for Alto Sax & Piano #Alto Saxophone and Piano #INTERMEDIATE #Alexander Scriabin #James M #Scriabin: Prelude Op. 11 No. 2 #jmsgu3 #SheetMusicPlus

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.549467 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instruction...(+)

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.549467 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499755. Published by jmsgu3 (A0.549467). 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 ≈ 18.26€

Bach-Gounod: Ave Maria for Alto Saxophone and Piano

Bach-Gounod: Ave Maria for Alto Saxophone and Piano #Alto Saxophone and Piano #EASY #Classical #J #Colin Kirkpatrick #Bach-Gounod: Ave Maria for Alt #Colin Kirkpatrick Publications #SheetMusicPlus

Composed by J. S. Bach - C. Gounod. Arranged by Colin Kirkpatrick. Praise & Worship, Easter, Wedding, Bar or Bat Mitzvah, Funeral. Score, Solo Par...(+)

Composed by J. S. Bach - C. Gounod. Arranged by Colin Kirkpatrick. Praise & Worship, Easter, Wedding, Bar or Bat Mitzvah, Funeral. Score, Solo Part. 6 pages. Published by Colin Kirkpatrick Publications
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 has been transposed into B

flat to feature the middle to upper range of the saxophone. In is ideal for the intermediate

player who can manage a top “b” with confidence.
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 “combined” piece was Méditation sur le Premier Prélude de Piano de S. Bach. Gounod’s

original arrangement transposed Bach’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-Léopold 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 mother of Jesus.
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 “harmonic weakness” (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 ≈ 7.28€