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Final Fugue
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Final Fugue
Partitions à imprimer
38 partitions trouvées
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1
26
Prelude and Fugue
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Classique
#
Clara Wieck-Schumann
#
Norman Phillip Hart
#
Prelude and Fugue
#
Hathor Publications
#
SheetMusicPlus
Woodwind Ensemble Bassoon,Clarinet,Horn,Oboe - Level 2 - SKU: A0.1089373 Composed by Clara Wieck-Schumann. Arranged by Norman Phillip Hart. Classical,Ro...
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Woodwind Ensemble Bassoon,Clarinet,Horn,Oboe - Level 2 - SKU: A0.1089373 Composed by Clara Wieck-Schumann. Arranged by Norman Phillip Hart. Classical,Romantic Period. 15 pages. Hathor Publications #693572. Published by Hathor Publications (A0.1089373). The final prelude and fugue of Clara Schumann's Three Preludes and Fugues, Op. 16, arranged for Oboe, Clarinet, French Horn, and Bassoon.
$6.00 ≈
¥43.48
St Anne Fugue (BWV 552)
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Classique
#
Johann Sebastian Bach
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Andrew Henderson
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St Anne Fugue
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Andrew Henderson
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SheetMusicPlus
Small Ensemble Organ - Level 5 - SKU: A0.850943 Composed by Johann Sebastian Bach. Arranged by Andrew Henderson. Baroque. Score and parts. 11 pages. And...
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Small Ensemble Organ - Level 5 - SKU: A0.850943 Composed by Johann Sebastian Bach. Arranged by Andrew Henderson. Baroque. Score and parts. 11 pages. Andrew Henderson #6658839. Published by Andrew Henderson (A0.850943). Bach's 'St Anne Fugue' in E flat, BWV 552, arranged for brass quintet and organ.The piece is a triple fugue; the first fugue is arranged for brass alone, and the third for organ and brass. The original organ version should be used alongside this arrangement; it can be found for free at https://bit.ly/BWV552. For the YouTube link, click on the final chapter, or on this separate link below:www.youtube.com/watch?v=hu327vCa9Yo&t=5382shttps://bit.ly/BWV552
$5.99 ≈
¥43.41
Contrapunctus I - From The Art of The Fugue ~ BWV 1080
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Johann Sebastian Bach
#
Alberto Mandarini
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Contrapunctus I - From The Art
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Alm@music
#
SheetMusicPlus
Level 3 - SKU: A0.1488249 Composed by Johann Sebastian Bach. Arranged by Alberto Mandarini. Baroque,Chamber,Classical,Historic,Instructional. 19 pages. ...
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Level 3 - SKU: A0.1488249 Composed by Johann Sebastian Bach. Arranged by Alberto Mandarini. Baroque,Chamber,Classical,Historic,Instructional. 19 pages. Alm@music #1065126. Published by Alm@music (A0.1488249). I transcribed Contrapunctus I from the Art of Fugue by Johann Sebastian Bach, faithfully respecting the work of the Great Maestro, intervening only to distribute the voices when impracticable by the individual instruments and to give some breathing space to the various performers. In fact, from 4 parts, I obtained 5 using a small doubling only in the final part.The choice to use 3 trumpets and 2 trombones, and not the more typical brass quintet (2 trumpets, horn, trombone and tuba), was dictated by the lineup I had available at the time I made the transcription. Luckily, the second trombone part fits perfectly with the original fourth voice (…except for one very brief point…).However, in the future, I don't rule out creating a version for the standard quintet too!On a didactic level, the choice of this piece was certainly ambitious, but the extraordinary thing is that through Bach's music (!!!) it was possible to address an enormous amount of musical nuances. This immediately fascinated my students, both young and old, who did not hesitate to get involved with all their strength and I must say that, at the end of the study path, each of them achieved a clear improvement both technically and, above all, expressive.But then it's no surprise, Bach's music is always extraordinary and surprising!The structure of the transcription is therefore the original one and the duration is around 2 minutes and 45 seconds. To the expected parts I also added that of the horn in F, replacing the 3rd trumpet. At your discretion, of course, decide whether to replace it or double it directly.Also in this case, the audio is made with the synthetic sounds of midi, therefore not particularly captivating, but it should still be useful for getting an idea of the arrangement and for studying the individual parts.Good music!am.
$4.99 ≈
¥36.16
Lullaby and Fugue (Score and Parts)
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Aris Antoniades
#
Lullaby and Fugue
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Aris Antoniades
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.942945 Composed by Aris Antoniades. Contemporary,World. Score and parts. 26 pages. Aris Antoniades #39145...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.942945 Composed by Aris Antoniades. Contemporary,World. Score and parts. 26 pages. Aris Antoniades #3914539. Published by Aris Antoniades (A0.942945). Lullaby & Fugue, composed by Aris Antoniades.This piece was commissioned by the Sforzando Composers' Collective for the New Asia Chamber Music Society of New York, and was premiered on August 4th, 2017 at the Riverside Church in NYC.When I was presented with the challenge of composing a work combining traditional Chinese instruments with conventional Western instruments, I was quite intrigued: merging different sound-worlds has always been a strong compositional interest of mine. I am fascinated by folk music and, being born and raised on the Mediterranean island of Cyprus, much of my music is greatly influenced by my Greek cultural heritage. This piece is no different: I’ve attempted to use the enchanting sound of the Chinese Dulcimer in a way that reminds me of my own home.Lullaby and Fugue is a work inspired by the magical art of story telling. I still remember many of the bedtime stories my grandparents used to tell me when I was young. Their stories were not just entertaining, but also didactic: I follow many of their teachings to this very day, and I believe that these stories have played a vital role in shaping my character. The Lullaby portrays the soothing aspect of a bedtime story, whilst the Fugue represents the hidden, ‘cerebral’ aspect. I would like to thank my friends at the Sforzando Composers Collective for this great opportunity and all of the performers for their time and dedication. Additionally, I would like to thank my mentor, Dr. J. Mark Stambaugh for helping me discover the true magic of counterpoint, back in college. Finally, I would like to dedicate this piece to the greatest storytellers in the world: my grandparents George, Panayiota, Anthis and Persoulla.Estimated performance time: ca. 4' 45''Instrumentation:Chinese DulcimerPianoViolinVioloncelloContact the composer: https://www.arisantoniades.com or aris.antoniades@gmail.com
$25.00 ≈
¥181.19
O God, Our Help....Passacaglia /Fugue
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Folklorique/Traditionel
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Isaac Watts
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Rich Heffler
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O God, Our Help....Passacaglia
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David E. Smith - Digital Sheet Music
#
SheetMusicPlus
Alto Sax and piano - Grade 5 - SKU: DX.W29111AX Composed by Isaac Watts. Arranged by Rich Heffler. Key of C, Ab, Bb. Traditional. Score and part. 9 page...
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Alto Sax and piano - Grade 5 - SKU: DX.W29111AX Composed by Isaac Watts. Arranged by Rich Heffler. Key of C, Ab, Bb. Traditional. Score and part. 9 pages. David E. Smith - Digital Sheet Music #W29111AX. Published by David E. Smith - Digital Sheet Music (DX.W29111AX). Written in typical passacaglia (theme in the bass line) and Fugue fashion, the theme is presented in the piano. The first variation is a gently modified tune in duple with the accompaniment in triplets. In variation two, the tune is rhythmically altered while the upper accompaniment is presented in a spritely fashion. Variation three, the tune is in a triplet moving nature while the theme is in block harmonization in the accompaniment. Variation four is expressive in an almost cadenza fashion. Finally, the Fugue is in a lively four voice manner, ending with a strong proclamation of the title, itself.
$5.50 ≈
¥39.86
Fugue #2
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Gary Friedman
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Fugue #2
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Gary Friedman
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,English Horn,Oboe,Soprano Saxophone,Tenor Saxophone - SKU: A0.889839
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Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,English Horn,Oboe,Soprano Saxophone,Tenor Saxophone - SKU: A0.889839 Composed by Gary Friedman. Baroque,Contemporary. 51 pages. Gary Friedman #2031629. Published by Gary Friedman (A0.889839). Light-hearted fugue originally written for double-reed quartet of oboe, English horn, and two bassoons. Also works well for saxophone quartet (soprano, alto, tenor, bass) and clarinet quartet (two B flats, and two bass's). All scores and parts are supplied. The audio clip is a computer playback of the double reed version, made with early Finale and doesn't reproduce ritards, etc. Duration about 4 minutes.
$10.00 ≈
¥72.47
Sonatina for Flute and Piano
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James Albert Yeager
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Sonatina for Flute and Piano
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James A. Yeager
#
SheetMusicPlus
Piano,Soprano Flute - Level 4 - SKU: A0.1499262 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. Score and part. 43 pages. James A. Y...
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Piano,Soprano Flute - Level 4 - SKU: A0.1499262 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. Score and part. 43 pages. James A. Yeager #1075315. Published by James A. Yeager (A0.1499262). Foreword:Each movement revisits classic paradigms— (I & II) ternary song form,(III) theme & variations. The third movement treats the two themes as children at play with games such as tag and hide-and-seek as variations. Both themes become partner songs leading to fugue, which is, after all, the ultimate musical game.Performance Notes:I Moderato, slurs in the flute suggest phrasing but are optional in terms of breathing. The B section at letter C has a canon between flute and piano (left-hand) which suggests imitation in articulations and dynamics. The climax just before letter D can be stretched slightly more than poco rit. implies. II Slowly gently, must not be played slower than indicated. The middle section at letter B begins with a subito forte. At 3 measures before letter C the fermatas allow a certain freedom. When the flute releases the piano can continue the left-hand chord. The piano should use una corda in the bridge at letter C. Elsewhere, the piano may also employ una corda in quiet places ad libitum. At final note the flute can fade to nothing if breath runs out and just remain in pose as the final note of the piano is allowed to vanish.III Majestic with vigour, two given themes from ca. 1934 are Old Abram Brown by Benjamin Britten and Kookabura Sits on the Old Gum Tree by Marion Sinclair and both are rounds for children. The flute boldly declares theme one at the outset. The piano arpeggiations begin sonorously and quiet before letter A. In Variation 1 the piano must begin softer than the low register flute. The piano left-hand upper notes [A, then G, then D-A fifth) may require use of the sostenuto pedal. Variation 2 is a caccia or chase. Variation 3 is a barcarolle where theme 1 is hiding in the flute part. Variation 4 introduces the second theme (flute) in partnership with theme 1 (piano). Four measures before letter I the piano makes an ogre of theme 2 and should be humorously ponderous. The fugue subject might be the teacher who brings everyone into the final partner song of themes. The piece finishes as it began except for a wistful ending.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). While in Colorado he composed two film scores for student filmmakers as well as choral and organ compositions. He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. He led choirs of all ages from children through the elderly. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano(2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$30.00 ≈
¥217.42
Game Of Thrones
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Film/TV
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Ramin Djawadi
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Javier Gasó-Bustos
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Game Of Thrones
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Javier Gasó Bustos
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SheetMusicPlus
Guitar Ensemble Guitar - Level 3 - SKU: A0.995919 Composed by Ramin Djawadi. Arranged by Javier Gasó-Bustos. Film/TV. Score and parts. 10 pages. Javi...
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Guitar Ensemble Guitar - Level 3 - SKU: A0.995919 Composed by Ramin Djawadi. Arranged by Javier Gasó-Bustos. Film/TV. Score and parts. 10 pages. Javier Gasó Bustos #4756789. Published by Javier Gasó Bustos (A0.995919). Game of Thrones Fugue is a fugue in the Baroque style allowing small musical licenses. It is ideal to practice and play by young performers or students, who can learn to work in groups (chamber music), while they can discover and understand the characteristics of the fugue. We can find as subject the main theme of the OST, in addition to other secondary themes of the OST that will appear. Finally, as in the narrative of the series, in the final part you will find a revelation (hidden theme) that will give you a meaning to conclude the piece. We avoid revealing this so as not to make spoilers, so ... Discover it! Enjoy the piece
$14.99 ≈
¥108.64
Prelude in C Major - BWV 846
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Classique
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Johann Sebastian Bach
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Louis Turndick III
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Prelude in C Major - BWV 846
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Louis Turudich III
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SheetMusicPlus
Cello,Steel Pan - Level 2 - SKU: A0.934734 Composed by Johann Sebastian Bach. Arranged by Louis Turndick III. Baroque. 5 pages. Louis Turudich III #3918...
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Cello,Steel Pan - Level 2 - SKU: A0.934734 Composed by Johann Sebastian Bach. Arranged by Louis Turndick III. Baroque. 5 pages. Louis Turudich III #3918793. Published by Louis Turudich III (A0.934734). Prelude in C Major is one of several of Bach’s preludes and fugues. It is the first prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues. This classic prelude is designed for the beginning student to have a better understanding to chords and their respective arpeggios. Though this simple piece is in the key of C major, it takes the listener on a journey by changing keys and finally ends back in C major.
$40.00 ≈
¥289.90
Der Geist hilft unser Schwachheit auf by J.S. Bach for Double Brass Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Der Geist hilft unser Schwachh
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Richard Byrnes
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SheetMusicPlus
Brass Ensemble Euphonium,Trumpet - SKU: A0.830771 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. Score and parts. 102 pages. Ri...
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Brass Ensemble Euphonium,Trumpet - SKU: A0.830771 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. Score and parts. 102 pages. Richard Byrnes #5358305. Published by Richard Byrnes (A0.830771). The motet, Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness) is structured in three sectons. The first, focuses on techniques of imitation between the two choirs. The second section is a fugue. The third is a double fugue in 4 parts. The final section is a choral Du heilige Brunst, süßer Trost. This double brass arrangement is for (3Trp,3Eu/3Trp/3Eu).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$49.00 ≈
¥355.13
Der Geist hilft unser Schwachheit auf by J.S. Bach for Double Clarinet Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Der Geist hilft unser Schwachh
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Bass Clarinet - SKU: A0.830772 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard Byrnes #5359...
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Woodwind Ensemble Bass Clarinet - SKU: A0.830772 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard Byrnes #5359451. Published by Richard Byrnes (A0.830772). The motet, Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness) is structured in three sectons. The first, focuses on techniques of imitation between the two choirs. The second section is a fugue. The third is a double fugue in 4 parts. The final section is a choral Du heilige Brunst, süßer Trost.This double clarinet arrangement is for (5Cl,BCl/5Cl,BCl).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$49.99 ≈
¥362.30
Der Geist hilft unser Schwachheit auf by J.S. Bach for Double Double-reed Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Der Geist hilft unser Schwachh
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - SKU: A0.830773 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard ...
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Woodwind Ensemble Bassoon,English Horn,Oboe - SKU: A0.830773 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard Byrnes #5361867. Published by Richard Byrnes (A0.830773). The motet, Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness) is structured in three sectons. The first, focuses on techniques of imitation between the two choirs. The second section is a fugue. The third is a double fugue in 4 parts. The final section is a choral Du heilige Brunst, süßer Trost.This double-reed arrangement is for (2Ob,3EH,Bn/2Ob,3EH,Bn).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$49.99 ≈
¥362.30
Der Geist hilft unser Schwachheit auf by J.S. Bach for Double Woodwind Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Der Geist hilft unser Schwachh
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Bassoon,Clarinet,English Horn,Flute - SKU: A0.830776 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages...
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Woodwind Ensemble Bassoon,Clarinet,English Horn,Flute - SKU: A0.830776 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard Byrnes #5454329. Published by Richard Byrnes (A0.830776). The motet, Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness) is structured in three sectons. The first, focuses on techniques of imitation between the two choirs. The second section is a fugue. The third is a double fugue in 4 parts. The final section is a choral Du heilige Brunst, süßer Trost.This double woodwind choir arrangement is for (2Fl,EH,2Cl,Bn/2Fl,EH,2Cl,Bn).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$49.99 ≈
¥362.30
Der Geist hilft unser Schwachheit auf by J.S. Bach for Double Saxophone Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Der Geist hilft unser Schwachh
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone - SKU: A0.830775 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Ba...
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone - SKU: A0.830775 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 101 pages. Richard Byrnes #5372107. Published by Richard Byrnes (A0.830775). The motet, Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness) is structured in three sectons. The first, focuses on techniques of imitation between the two choirs. The second section is a fugue. The third is a double fugue in 4 parts. The final section is a choral Du heilige Brunst, süßer Trost.This double saxophone arrangement is for (2S,3A,Bi/2S,3A,Bi).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$49.99 ≈
¥362.30
Madrigal Pavane / Timburibá
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Francisco Braga
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Luciano Lima
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Madrigal Pavane / Timburib&aac
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Pub...
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Guitar - Advanced - SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
$7.95 ≈
¥57.62
"Te Deum", op. 5 (parts & vocal score)
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Adrian Gagiu
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"Te Deum", op. 5
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Adrian Gagiu
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SheetMusicPlus
Choral Choir - Level 4 - SKU: A0.1204466 Composed by Adrian Gagiu. 20th Century,Baroque,Christian,Classical. Octavo. 370 pages. Adrian Gagiu #802933. Pu...
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Choral Choir - Level 4 - SKU: A0.1204466 Composed by Adrian Gagiu. 20th Century,Baroque,Christian,Classical. Octavo. 370 pages. Adrian Gagiu #802933. Published by Adrian Gagiu (A0.1204466). The orchestral parts and vocal score of a Neo-Baroque, medium-sized, large scale composition for 4 vocal soloists, mixed chorus in 4 to 8 voices, and full orchestra with organ, setting the traditional canticle text, mostly with church modes and alternating polyphonic intricacies with solemn, intense or profound moments. It would work both for worship and in concert, as it includes powerful outbursts, elaborate counterpoint, and also soft and humble moments, while avoiding any harsh excesses of modernism. Total duration: 46 min. Performing Rights Organization: SOCAN. The audio sample is the 3rd movement. The first two choruses, in 4 parts, follow the general outline of the Baroque French overture: a solemn introduction followed by an elaborate fugue. The 3rd movement is a solemn arioso for bass, followed by a grand chorus in 4 and 5 parts. The 4th movement is an arioso for tenor, followed by a complex chorus in 5 parts. The 5th movement is a suite of two ariosos for alto and soprano, followed by a grand, but brief chorus in 6 parts, and then by a mysterious instrumental evocation of the Last Judgment. The 6th movement is a vocal quartet a cappella, based on a well-known Orthodox hymn and alternated with a refrain for chorus in 7 parts and organ, then followed by a grand choral complex ended in humble supplication. The final, 7th movement is a grand motet for double chorus and orchestra, with four themes more and more intricately combined, up to the majestic coda treated in quadruple counterpoint.
$30.00 ≈
¥217.42
Deck the Halls a la Bach
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Noël
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16th Century Welsh Carol
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Ken Mackie
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Deck the Halls a la Bach
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Cuivre Press
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SheetMusicPlus
Brass Ensemble Horn - Level 3 - SKU: A0.932239 Composed by 16th Century Welsh Carol. Arranged by Ken Mackie. Baroque,Christmas. Score and parts. 12 page...
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Brass Ensemble Horn - Level 3 - SKU: A0.932239 Composed by 16th Century Welsh Carol. Arranged by Ken Mackie. Baroque,Christmas. Score and parts. 12 pages. Cuivre Press #5360367. Published by Cuivre Press (A0.932239). This fun little piece starts out with the opening motif from Deck the Halls with Boughs of Holly - - then immediately spins off into a fugue with a party-like atmosphere. As each new voice comes in the others go off into their own conversations. The motif appears and disappears in Bach-like fashion before ultimately closing with a final fa-la-la-la-la, la-la, la, la! A great little addition to any holiday concert.
$4.99 ≈
¥36.16
Bach: Fifteen Two-Part Inventions for Alto & Baritone Sax
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Classique
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Johann Sebastian Bach
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James M
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Baritone Sax
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Bach: Fifteen Two-Part Inventi
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 3 - SKU: A0.550555 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Christmas,Easter,Standards. 67 pag...
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Woodwind Ensemble - Level 3 - SKU: A0.550555 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Christmas,Easter,Standards. 67 pages. Jmsgu3 #4735777. Published by jmsgu3 (A0.550555). The 15 Two-Part Inventions BWV 772-786, arranged for Alto & Baritone Sax. The historical context of Bach's 15 Two-Part Inventions is rooted in their didactic purpose and significance in developing keyboard technique and musical expression. Composed around 1720, these pieces were part of Bach's Klavierbüchlein, a collection of 62 short works for keyboard compiled for his nine-year-old son, Wilhelm Friedemann Bach. The Inventions were designed as exercises to teach two-part playing, familiarize students with musical ideas, and provide a taste of composition. They were structured with care, with the first three based on scales, the following three on broken chords, and a combination of both in the final piece, almost resembling a fugue in form. Bach's Inventions are experiments on musical ideas and a new way of combining lines, reflecting his didactic aim and providing a clear path for students to learn to play cleanly in two parts and acquire a strong foretaste of composition. The inventions' musical elements, composition, and piano technique can be effectively learned and expressed through different instruments. The adaptability of Bach's Two-Part Inventions to various instruments allows for a broader exploration of musical ideas and will enable instrumentalists to develop their technical and expressive abilities.
$38.95 ≈
¥282.29
Aus Tiefer Not Schrei Ich zu Dir
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Classique
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Mitch Boucher
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Aus Tiefer Not Schrei Ich zu D
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Mitch Boucher
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Flute,Horn,Trombone,Trumpet,Tuba,Violin - Interactive Download SKU: A0.480240 By Mitch Boucher. By Mitch Boucher. This e...
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Large Ensemble Cello,Double Bass,Flute,Horn,Trombone,Trumpet,Tuba,Violin - Interactive Download SKU: A0.480240 By Mitch Boucher. By Mitch Boucher. This edition: Interactive Download. Classical. Score and parts. 50 pages. Duration 560. Published by Mitch Boucher (A0.480240). This piece is my first attempt at a chorale partita. Not as advanced as Bach, but I hope you enjoy! The work has five parts: a chorale, a variation, a gigue, a fugue, and a final chorale. The inspiration of BWV 686 is quite prominent.
$15.00 ≈
¥108.71
CANE: Bassoon Concerto with Reed Quintet
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Contemporain
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Jenni Brandon
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CANE: Bassoon Concerto with Re
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Jenni Brandon Music
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SheetMusicPlus
Small Ensemble Alto Saxophone,Bass Clarinet,Bassoon,Oboe - Level 5 - SKU: A0.918692 Composed by Jenni Brandon. Contemporary. Score and parts. 185 pages....
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Small Ensemble Alto Saxophone,Bass Clarinet,Bassoon,Oboe - Level 5 - SKU: A0.918692 Composed by Jenni Brandon. Contemporary. Score and parts. 185 pages. Jenni Brandon Music #6451541. Published by Jenni Brandon Music (A0.918692). The first concerto of its kind, CANE: Bassoon Concerto with Reed Quintet (Oboe, B-Flat Clarinet, Saxophone, Bass Clarinet, Bassoon) by Jenni Brandon tells a dramatic story of one bassoon reed’s journey from its origins as raw, organic cane, to the final joy of playing on the finished reed. The colors of the reed quintet and the virtuosic solo bassoon intermingle in this through-composed piece to take the listener through this vivid experience. Rhythm, lyrical lines, extended techniques, Afro-Cuban style music, jazz and fugue join together to remind us that this is an organic process. From making reeds to making music, we come together to create performance. Ever changing and ever evolving, every reed and every performance is unique, and Cane promises to tell this story in a powerful and exciting new way. Co-Commissioned by the Akropolis Reed Quintet and Dr. Christin Schillinger.There are several sections in this through-composed work, taking us on a journey that is the life of a bassoon reed: I. Split: short and percussive, like splitting cane II. Gouge: Rhythmic, steady and driving. Removing and leaving… III. Shape IV. Profile: Mechanical, with a little bit of mischief V. Form: The cane becomes a reed (Internal/external sounds of transition) VI. Scrape: In the style of Afro-Cuban music VII. Playing the reed: Swing, sassy; thoughtful, reflective; with reverence; the reed plays…Duration approximately 24 minutes
$80.00 ≈
¥579.80
Sonata for Piano Quintet
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James Albert Yeager
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Sonata for Piano Quintet
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James A. Yeager
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SheetMusicPlus
Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 9...
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Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - SKU: A0.1499301 Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301). Foreword:Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.Performance Notes:I Moderately fast, expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.James Albert Yeager (b.1946)James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985). He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.
$40.00 ≈
¥289.90
Quartet for Brass
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Contemporain
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Elizabeth Raum
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Quartet for Brass
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - SKU: A0.1044869 Composed by Elizabeth Raum. 20th Century. Score and parts. 47 pages. Gordon Cherry #649485. Published ...
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Brass Ensemble Trombone,Trumpet - SKU: A0.1044869 Composed by Elizabeth Raum. 20th Century. Score and parts. 47 pages. Gordon Cherry #649485. Published by Gordon Cherry (A0.1044869). Elizabeth Raum's Quartet for Brass was written in 1980 and is just now being published for the first time. The work is in four movements: 1. Prelude, 2. Scherzo and Blues, 3. Passacaglia and Fugue and 4. Rondo. It is written for two Trumpets in B-flat, Tenor Trombone and Bass Trombone for advanced performers and is about 15 minutes in length. The music is very expressive and tonal. Below is a brief description of the work by the composer, Elizabeth Raum. This piece is very much based on various musical forms. The Prelude has opened many a musical work from Baroque to the present. Then follows Scherzo and Blues, a light-hearted bonbon moving into a lazy blues. Next is pure Baroque starting with a Passacaglia followed by a Fugue based on the Passacaglia progression. And finally finishing up with the Rondo, in a major key, light-hearted, canonic in places, with a feeling of the evolution of musical form.
$35.00 ≈
¥253.66
It Is Well With My Soul
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Folklorique/Traditionel
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Horatio G
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Rich Heffler
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It Is Well With My Soul
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David E. Smith - Digital Sheet Music
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SheetMusicPlus
Alto Sax and piano - Grade 5 - SKU: DX.W29116AX Composed by Horatio G. Spafford. Arranged by Rich Heffler. Key of G. Traditional. Score and part. 4 page...
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Alto Sax and piano - Grade 5 - SKU: DX.W29116AX Composed by Horatio G. Spafford. Arranged by Rich Heffler. Key of G. Traditional. Score and part. 4 pages. David E. Smith - Digital Sheet Music #W29116AX. Published by David E. Smith - Digital Sheet Music (DX.W29116AX). Written in typical passacaglia (theme in the bass line) and Fugue fashion, the theme is presented in the piano. The first variation is a gently modified tune in duple with the accompaniment in triplets. In variation two, the tune is rhythmically altered while the upper accompaniment is presented in a spritely fashion. Variation three, the tune is in a triplet moving nature while the theme is in block harmonization in the accompaniment. Variation four is expressive in an almost cadenza fashion. Finally, the Fugue is in a lively four voice manner, ending with a strong proclamation of the title, itself.
$5.50 ≈
¥39.86
La Bourrée
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Michael Praetorius
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Alberto Mandarini
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La Bourrée
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Alm@music
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1491035 Composed by Michael Praetorius. Arranged by Alberto Mandarini. Baroque,Chamber,Classical,Ins...
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Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1491035 Composed by Michael Praetorius. Arranged by Alberto Mandarini. Baroque,Chamber,Classical,Instructional,Renaissance. 18 pages. Alm@music #1067793. Published by Alm@music (A0.1491035). Brass Ensemble: 3 Trumpets and 2 Trombones - Grade 2.This is also a transcription and a small adaptation of the original score.I chose “La Bourrée” by Michael Praetorius mainly for educational purposes thanks to the not excessive difficulty, but perfect for students with an intermediate level of preparation. Furthermore, the skillful writing of Praetorius and the beauty of this short composition of his, make the piece absolutely suitable to be included in any concert program.Starting from the 4 canonical parts, I focused above all on the redistribution of the voices bringing them to 5 and intervening on the reorganization of the refrains. Always with the utmost respect for the original score, I simply imagined two opposing choirs that alternate, responding to each other and becoming protagonists from time to time, thus replacing the mere repetition of the refrains.The themes, in turn and to the extent possible, were distributed across all the voices using, in some cases, even simple doubling.As in the adaptation of Contrapunctus I by J. S. Bach, ( https://www.sheetmusicplus.com/en/product/contrapunctus-i-from-the-art-of-the-fugue-bwv-1080-22828292.html ) the choice to use 3 trumpets and 2 trombones, and not the more typical brass quintet (2 trumpets, horn, trombone and tuba), was dictated by the formation for which I made the transcription.Finally, on a didactic level, this piece was fundamental to consolidate a formation at the first experiences and allowed me to deepen the salient aspects of ensemble music such as listening, musical breathing and interplay in its broadest sense.To the individual parts, as usual, I also added that of the horn in F, replacing the 3rd trumpet. At your discretion, of course, to decide whether to replace it or double it directly.The total duration is about 2 minutes and 20 seconds and the midi audio should be useful to get an idea of the arrangement and to be able to study the individual parts.Good Music!am.
$4.99 ≈
¥36.16
Bach-Gounod: Ave Maria for Baritone Horn & Piano
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Bach-Gounod
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James M
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Bach-Gounod: Ave Maria for Bar
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jmsgu3
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SheetMusicPlus
Baritone Horn TC/Euphonium,Instrumental Solo,Piano - Level 2 - SKU: A0.552852 Composed by Bach-Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Co...
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Baritone Horn TC/Euphonium,Instrumental Solo,Piano - Level 2 - SKU: A0.552852 Composed by Bach-Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Easter,Wedding. Score and individual part. 11 pages. Jmsgu3 #3491315. Published by jmsgu3 (A0.552852). Schwencke There are two popular versions of the Bach-Gounod Ave Maria to consider. Firstly, we have the version that exactly follows the harmonic scheme set forth by J. S. Bach in his Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Secondly, we have the arrangement introduced by the Choirmaster Christian Friedrich Gottlieb Schwencke in 1783 that introduces a controversial added measure designed to intensify the harmony in measure 27. Both versions employ the melody that Charles Gounod provided as an overlay to the Bach harmony. In either case, the convenient 1st & 2nd endings provide options for extended performance. The duration with the repeat runs about 4:50. This arrangement follows the original Bach prelude and so excludes the extra measure that Schwencke introduced in 1783. If you prefer the extra measure, please see Bach-Gounod: Ave Maria, Schwencke version for Baritone Horn & Piano, S0.661783. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. Â
$32.95 ≈
¥238.80
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Final Fugue 
