Page d'accueil
Parcourir Free-scores.com
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
for
Non classifié
6 099
Piano & claviers
Piano seul
8 752
Piano, Voix
508
Accordéon
312
Orgue
299
1 Piano, 4 mains
113
2 Pianos, 4 mains
104
Piano, Voix et Guitare
93
Piano Trio: piano, violon, violoncelle
80
Instruments en Do
68
Clavecin
37
Piano Quatuor: piano, violon, alto, violoncelle
27
Piano Facile
24
Piano Quintette: piano, 2 violons, alto, violoncelle
14
Orgue, Trompette (duo)
13
2 Pianos, 8 mains
10
Accompagnement Piano
10
Piano Quatuor: piano, 2 violons, violoncelle
7
Clavier
6
Ensemble d'Accordéons
4
Orgue, Piano (duo)
4
1 Piano, 6 mains
4
Accordéon et Orchestre
3
2 Accordéons
2
Accordéon, Corde(s)
2
Orgue et Orchestre
1
Accordéon, Voix
1
Concertina
1
2 Orgues (duo)
1
Ensemble de Pianos
1
+ 24 instrumentations
Retracter
Guitares
Guitare
887
Guitare notes et tablatures
449
Basse electrique
260
2 Guitares (duo)
53
Ukulele
28
4 Guitares (Quatuor)
17
Ligne De Mélodie, (Paroles) et Accords
13
Mandoline
8
Ensemble de guitares
7
Dulcimer
5
Piano, Guitare (duo)
4
Banjo
3
Paroles et Accords
2
Luth
2
Mandoline, Piano (duo)
2
Guitare, Quatuor à cordes
1
Guitare, Violon, Violoncelle (trio)
1
Mandoline, Guitare (duo)
1
3 Guitares (trio)
1
Orchestre à Plectres
1
+ 15 instrumentations
Retracter
Voix
Chorale SATB
910
Chorale TTBB
286
Chorale SSAA
165
Voix Soprano, Piano
62
Chorale 3 parties
58
Voix haute
42
Voix seule
41
Chorale
24
Chorale SSAATTBB
24
Voix Tenor, Piano
24
Voix basse, Piano
20
Voix Baryton, Piano
17
Voix Alto, Piano
15
Chorale 2 parties
13
Voix duo, Piano
11
Voix duo
10
Voix moyenne, Piano
9
Voix Mezzo-Soprano, Piano
5
Chorale Unison
4
Voix basse
3
Chorale SSATB
3
Chorale SSATTB
3
Voix Soprano
3
Voix Tenor
2
Voix, Guitare
2
Chorale SSAATB
2
Chorale SAATB A Cappella
1
Voix Baryton
1
Voix duo, Orgue
1
Soli, choeur mixte et accompagnement
1
Voix Soprano, Orchestre
1
+ 26 instrumentations
Retracter
Vents
Saxophone
3 224
Flûte traversière
1 505
Clarinette
1 425
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
353
Flûte traversière et Piano
314
Saxophone Alto
275
Quatuor de Saxophones: 4 saxophones
266
Saxophone Tenor
200
Clarinette et Piano
184
Quatuor de Clarinettes: 4 clarinettes
167
Ensemble de Clarinettes
158
Flûte, Hautbois, Clarinette, Basson
147
Ensemble de saxophones
137
Saxophone Alto et Piano
136
Saxophone Soprano
130
Hautbois, Piano (duo)
104
Quintette de Saxophone: 5 saxophones
78
Saxophone Soprano et Piano
73
2 Clarinettes (duo)
71
Hautbois (partie séparée)
67
2 Saxophones (duo)
67
Saxophone (partie séparée)
67
2 Flûtes traversières (duo)
66
Hautbois
60
Flûte à Bec
57
Saxophone Tenor et Piano
57
Quatuor de Flûtes : 4 flûtes
54
Quintette de Clarinettes: 5 clarinettes
53
3 Clarinettes (trio)
51
3 Saxophones (trio)
46
Flûte et Guitare
43
Ensemble de Flûtes
42
Saxophone Baryton, Piano
28
Clarinette Basse, Piano
27
Clarinette (partie séparée)
24
Flute (partie séparée)
23
2 Flûte à bec (duo)
21
Trio de Flûtes: 3 flûtes
19
Hautbois, Clarinette, Basson (trio d'anches)
17
Cor anglais, Piano
16
Quintette de Flûte : 5 flûtes
15
Flûte à Bec, Piano
13
Flûte, Clarinette (duo)
13
Flûte, Clarinette et Basson
13
Harmonica
12
Flûte, Violon, Piano
12
Quatuor de Flûtes à bec
12
Flûte, Violoncelle, Piano (trio)
11
Flûte, Hautbois, Basson
9
2 Hautbois (duo)
9
Flûte, Clarinette, Piano (trio)
9
Flûte, Hautbois, Clarinette (trio)
8
Flûte, Violon
8
Flûte à bec Alto, Piano
8
Clarinette, Guitare (duo)
8
Clarinette, Violoncelle (duo)
7
Clarinette, Violoncelle, Piano (trio)
7
Clarinette, Basson (duo)
7
Hautbois, Flûte
6
Hautbois, Basson (duo)
6
5 Flûtes à bec
6
3 Flûtes à bec (trio)
6
Cor Anglais
6
3 Hautbois
5
Clarinette, Violon (duo)
5
2 Saxophones, Piano
5
Flûte, Violoncelle
5
Flûte à bec Alto
5
Flûte à bec Alto, Basse continue
5
Quintette de Clarinette: Clarinette, Quatuor à Cordes
4
Hautbois, Basson et Piano
4
Flûte, Basson et Piano
4
Flûte, Saxophone (duo)
4
Flûte traversière, Orchestre
4
Ocarina
4
Hautbois, Guitare (duo)
4
Flûte, Violon, Violoncelle et Piano
4
Saxophone, Clarinette (duo)
4
Clarinette, Basson, Piano (trio)
3
Clarinette, Orchestre
3
Clarinette, Orgue
3
4 Hautbois
3
Flûte, Hautbois, Piano (trio)
3
Saxophone et Guitare
3
2 Flûtes traversières, Piano
3
Clarinette Basse
3
Piccolo
3
2 Clarinettes, Piano
3
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
3
Flûte à bec Soprano
3
Ensemble De Flûte à bec
2
Clarinette, Contrebasse (duo)
2
Saxophone Baryton
2
Flûte à bec Tenor
2
Flûte, Trombone (duo)
2
Flûte, alto et harpe
2
Saxophone et Orgue
2
Flûte, Alto et Piano
2
Flûte traversière, Orgue (duo)
2
Clarinette et Alto
2
Hautbois, Violoncelle
2
Saxophone et violoncelle
2
Flûte, Violoncelle, Guitare
1
Hautbois et Orchestre
1
Ensemble de Hautbois
1
Clarinette, Alto et Piano (trio)
1
Flûte et Trio à cordes
1
Hautbois, Clarinette et Piano (Trio)
1
Flûte, Violon, Guitare
1
Flûte, Hautbois (duo)
1
Cornemuse
1
2 Flûtes à bec, Piano
1
Flute, harpe et violon
1
Flûte, Alto et Violoncelle
1
Flûte, Violon et Violoncelle
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Flûte, Trompette (duo)
1
Hautbois, trombone (duo)
1
Hautbois, Clarinette (duo)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
2 Clarinettes, Basson
1
Flûte irlandaise
1
Clarinette, Trombone (duo)
1
Harmonica, Piano
1
Flûte, Alto (duo)
1
Flûte, Tuba (duo)
1
Saxophone, Basson (duo)
1
+ 122 instrumentations
Retracter
Cuivres
Trompette
1 326
Trombone
1 221
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
561
Quatuor de Cuivres : 2 trompettes, trombone, tuba
230
Trombone et Piano
202
Ensemble de Trombones
140
Cor
125
Trompette, Piano
111
Tuba et Piano
109
Euphonium, Piano (duo)
107
Cor et Piano
104
Quatuor de cuivres: 4 trombones
101
Quatuor de cuivres: 4 cors
63
Trompette (partie séparée)
59
Quatuor de Cuivres
57
Tuba
49
Quatuor de Cuivres: 2 trompettes, Cor, trombone
40
2 Trombones (duo)
37
Cor (partie séparée)
35
Trombone (partie séparée)
31
Euphonium
29
2 Cors (duo)
26
2 Trompettes (duo)
25
Ensemble de Cors
24
Trombone basse
21
2 Euphoniums et 2 Tubas
17
Ensemble de Trompettes
17
Cor anglais, Piano
16
4 Tubas
16
Trompette, Trombone (duo)
14
3 Trombones (trio)
14
Quatuor de cuivres: 4 trompettes
11
Trombone basse et Piano
11
Trompette, Cor (duo)
8
Trombone, Tuba (duo)
8
2 Trompettes, Clavier (piano ou orgue)
7
Euphonium, Tuba (duo)
6
2 Tubas (duo)
6
Cor Anglais
6
3 Cors (trio)
4
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Trombone, Orgue
4
Trompette, violon (duo)
3
Trompette, Orchestre
3
Trombone et orchestre
3
3 Euphoniums
3
Tuba (partie séparée)
2
Instruments en Sib
2
Cor et Orgue
2
Trompette, Tuba (duo)
2
3 Tubas (trio)
2
3 Trompettes (trio)
2
Cor, Violoncelle (duo)
2
2 Euphoniums (duo)
2
Trompette, Saxophone (duo)
2
Trompette, Basson (duo)
1
Trombone, Cor (duo)
1
Trompette, Violoncelle (duo)
1
Ensemble de Tubas
1
Tuba et Orgue
1
Cor et Basson (duo)
1
Clarinette, Cor (duo)
1
Trombone, Alto (duo)
1
Cor et Harpe
1
Trio de Cuivres
1
Trombone, Violon (duo)
1
+ 61 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
1 020
Violon
961
Violon et Piano
544
Violoncelle
519
Alto seul
349
Violoncelle, Piano
271
Violon, Violoncelle (duo)
157
Alto, Piano
147
Trio à Cordes: violon, alto, violoncelle
143
Harpe
130
2 Violons (duo)
85
Violon, Alto (duo)
83
Contre Basse
70
Alto (partie séparée)
50
Trio à Cordes: 2 violons, violoncelle
47
Violon, Guitare (duo)
44
Contrebasse, Piano (duo)
44
2 Violoncelles (duo)
41
2 Altos (duo)
37
4 Violoncelles
33
Alto, Violoncelle (duo)
26
Violoncelle , Guitare (duo)
21
Harpe, Violon (duo)
20
Violoncelle, Contrebasse (duo)
19
Trio à cordes: 3 violins
18
Quintette à cordes: 2 violons, alto, violoncelle, basse
18
Violon (partie séparée)
18
Harpe, Flûte (duo)
15
4 Contrebasses
15
Trio à Cordes: 3 violoncelles
14
Trio à Cordes: 2 violons, alto
12
Trio à cordes
11
Quatuor à cordes: 4 violons
9
2 Contrebasses (duo)
8
Ensemble de Violoncelles
7
Quatuor à cordes : 4 altos
6
Violoncelle (partie séparée)
5
Violoncelle, Orgue
5
Trio à cordes: 3 altos
5
Alto et Harpe
5
Violon, Orgue
5
Violoncelle, Orchestre
5
Piano Trio: Violon, Alto, Piano
5
Alto et orchestre
4
Violon, Clarinette, Piano (trio)
4
Harpe, Violoncelle (duo)
3
2 Violons, Piano
3
Harpe, Quatuor à cordes
3
Alto, Guitare (duo)
3
Ensemble d'Altos
2
Ensemble de Violons
2
Flûte, Contrebasse (duo)
2
Harpe, Violon, Violoncelle
2
Harpe, Orchestre
2
2 Altos, Piano
1
Violon, Basson (duo)
1
Contrebasse (partie séparée)
1
Harpe, Trombone (duo)
1
4 Harpes
1
2 Harpes (duo)
1
Alto et Basson
1
3 Contrebasses
1
3 Harpes
1
Violon, Violoncelle, Clarinette
1
+ 59 instrumentations
Retracter
Orchestre & Percussions
Batterie
1 107
Orchestre
988
Orchestre d'harmonie
775
Ensemble Jazz
465
Jazz combo
418
Orchestre à Cordes
390
Ensemble de cuivres
344
Orchestre de chambre
328
Cloches
66
Ensemble de Percussions
59
Fanfare
54
Percussion
22
Percussion (partie séparée)
17
Marimba
17
Piano et Orchestre
11
Big band
9
Orchestre, Violon
5
Quintette à Vent
4
Vibraphone
4
Timbales (partie séparée)
2
Xylophone
2
2 Marimbas
1
Marimba et Orgue
1
Caisse Claire
1
Quatuor à Vent : 4 instruments à vents
1
Orchestre Symphonique
1
+ 21 instrumentations
Retracter
Autres
Formation musicale - Solfège
7
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
Autres Services
Autres Services
Top 100
Annuaire Web
Portées musicales
Metronome
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
1
Partitions Numériques
6 099
Librairie Musicale
4 649
Matériel de Musique
99 881
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
for
expert
Partitions à imprimer
6 099 partitions trouvées
<
1
26
51
....
6076
Carson Cooman: Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, sc
#
Contemporain
#
Carson Cooman
#
Carson Cooman: Enchanted Traci
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.533710 Composed by Cars...
(+)
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.533710 Composed by Carson Cooman. Contemporary. Score and parts. 83 pages. Musik Fabrik Music Publishing #3041105. Published by Musik Fabrik Music Publishing (A0.533710). I. Murky WatersII. The ForgottenIII. Casting InfinityEnchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble was commissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble, Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor, conductor. These three marvelous piano soloists served as the inspiration for the work. The concerto bears the dedication “for Walter Simmons, a hero for the cause of American music.†Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeserved attention. The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, and as a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonal constructs that are a preoccupation of my music. The concerto’s title provided the poetic idea behind the musical development. Though more or less equal with the ensemble in the first movement, the piano clearly takes over as leader in the second and third movements as the goaldirected formal narrative of the movements becomes more obvious. The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†the musical potential of the basic material. A number of melodic ideas emerge—some lyrical and some disjunct. A brief coda prepares for the next movement. The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass. The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spiky melodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should the work be performed with any substitutions, doublings, or increase of players on individual parts.)This is the full score and the solo part. The complete parts and seperate parts are available for sale on this site.
$29.95
Carson Cooman Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, com
#
Contemporain
#
Carson Cooman
#
Carson Cooman Enchanted Tracin
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.533711 Composed by Cars...
(+)
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.533711 Composed by Carson Cooman. Contemporary. Score and parts. 76 pages. Musik Fabrik Music Publishing #3041107. Published by Musik Fabrik Music Publishing (A0.533711). Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble wascommissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble,Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor,conductor. These three marvelous piano soloists served as the inspiration for the work. Theconcerto bears the dedication “for Walter Simmons, a hero for the cause of American music.â€Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeservedattention.The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, andas a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonalconstructs that are a preoccupation of my music. The concerto’s title provided the poetic ideabehind the musical development. Though more or less equal with the ensemble in the firstmovement, the piano clearly takes over as leader in the second and third movements as the goaldirectedformal narrative of the movements becomes more obvious.The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†themusical potential of the basic material. A number of melodic ideas emerge—some lyrical and somedisjunct. A brief coda prepares for the next movement.The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass.The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spikymelodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should thework be performed with any substitutions, doublings, or increase of players on individual parts.)This item contains the complete wind ensemble parts. The score plus solo part are for sale as another item. Individual parts are also for sale.
$77.95
Morceau Vaguement en Forme de Sonate
#
Alexandra Lehmann
#
Morceau Vaguement en Forme de
#
Forton Music - Digital
#
SheetMusicPlus
Fl. Ob. Cl. Hn. Bsn. - Advanced - SKU: F2.FM698 Composed by Alexandra Lehmann. A wind quintet for more advanced players. Score and Parts. 26 pages. Fort...
(+)
Fl. Ob. Cl. Hn. Bsn. - Advanced - SKU: F2.FM698 Composed by Alexandra Lehmann. A wind quintet for more advanced players. Score and Parts. 26 pages. Forton Music - Digital #FM698. Published by Forton Music - Digital (F2.FM698). ISBN 9790570485970.
$12.95
Carson Cooman: Dark December: Ignis Dei: processional doubles for mixed sextet (2002) for flute, Bb
#
Christian contemporain
#
Musique Sacrée
#
Carson Cooman
#
Carson Cooman: Dark December:
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Small Ensemble Cello,Clarinet,Flute,Piano Accompaniment,Vibraphone,Violin - Level 5 - SKU: A0.533618 Composed by Carson Cooman. Contemporary,Sacred. Sco...
(+)
Small Ensemble Cello,Clarinet,Flute,Piano Accompaniment,Vibraphone,Violin - Level 5 - SKU: A0.533618 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 36 pages. Musik Fabrik Music Publishing #3031747. Published by Musik Fabrik Music Publishing (A0.533618). Dark December: Ignis Dei (2002) was commissioned by Maurice and Amy Katz and was written forand is dedicated to Non Sequitur. It is scored for flute, clarinet, violin, cello, vibraphone, and piano, andis subtitled “processional doubles for mixed sextet.†(The word “doubles†is used in the old sense of“variations.â€)The source material for the composition is the composer's original hymn tune DOLMEN CREEK(2002), whose text by Margaret Clarkson (Burn in Me, Fire of God) provides the Ignis Dei of thetitle and poetic conception. The poetic conception is one of an emergence of a single inner flame, amida dark landscape.The tune is never heard in its full or straightforward form – instead it is always heard in fragment ortransformation. Its formal structure also provides the dimensions and structures of the four sections.Formally, the work is cast in a single movement as a series of three processionals plus a finalglorification-postlude. The conception of the work is ritualistic in tone, and pushes forward towardsthe end.The opening processional (for the entire sextet) is very slow and distant and sets out transformations ofthe hymn tune in its most abstruse form. The second processional (for violin, cello, and vibraphone) isslightly faster and features an active and independent vibraphone part over a cortege in the two strings.The third processional (for flute, clarinet, and piano) is quick and nimble as gestures and material arepassed between the two winds, and the piano provides commentary and allusions. In this processional, afragment of the hymn is heard in its most clear form. The final glorification-postlude brings the entireensemble together again in a vibrant coda of busy activity.Carson
$24.95
Sonata for Flute (or Violin) And Piano - Opus 6
#
Daniel Carr
#
Sonata for Flute
#
Daniel Carr
#
SheetMusicPlus
Small Ensemble Flute,Piano,Violin - Level 5 - SKU: A0.918710 Composed by Daniel Carr. 20th Century,Contemporary,Romantic Period. Score and parts. 86 pag...
(+)
Small Ensemble Flute,Piano,Violin - Level 5 - SKU: A0.918710 Composed by Daniel Carr. 20th Century,Contemporary,Romantic Period. Score and parts. 86 pages. Daniel Carr #30873. Published by Daniel Carr (A0.918710). The Sonata for Flute and Piano is the longest and most complex work I have composed for Flute and Piano. My goal for this piece was to push myself as a composer, and to push both flautist and pianist to their absolute limits – both musically and technically. The flute is capable of much more than just being pretty – and in this work it depicts violence, drama, joy, sorrow and heroism. Extended techniques are used throughout the sonata (aire, percussive tonguing, pitch bends, harmonics and flutter tonguing) but always within a tonal framework. The first movement starts out peacefully, as if beginning a legend, with a folk-like and serene melody. The second and third themes are more percussive and rhythmical – the flute and piano engaging in a violent, interlaced dance in a section marked Allegro Swordfight. In the recapitulation, the first theme reappears in much more dramatic form. The second movement begins with a forceful march before a darker and more cabalistic middle section emerges. The movement builds to a formidable climax in the final measures. The third movement begins simply and quietly, offering a respite from the energy of the first two movements, and quoting themes from both of them. It then leads attacca (without pause) into the final movement, which surges forward relentlessly before a lyrical section provides the flute an opportunity to soar above wave-like arpeggios in the piano. The piece ends on an ethereal note, with flute and piano hovering near silence in their upper ranges.
$10.00
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
#
Jazz
#
Silvano A
#
Introduction, Theme and Variat
#
Soundnotation
#
SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
(+)
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
#
Jazz
#
Silvano A
#
Introduction, Theme and Variat
#
Soundnotation
#
SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
(+)
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
Nocturne for Left Hand Alone (Opus 9 Number 2)
#
Classique
#
Stephen R Dalrymple
#
Nocturne for Left Hand Alone
#
Stephen R Dalrymple
#
SheetMusicPlus
Instrumental Solo - Level 5 - SKU: A0.1121045 By Stephen R Dalrymple. By Alexander Scriabin. Arranged by edited by Stephen R Dalrymple (Dalrymple Design...
(+)
Instrumental Solo - Level 5 - SKU: A0.1121045 By Stephen R Dalrymple. By Alexander Scriabin. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). Classical. Individual part. 14 pages. Stephen R Dalrymple #722236. Published by Stephen R Dalrymple (A0.1121045). Nocturne for Left Hand Alone (Classical Music for Tablet Series) by Alexander Scrià bin (Opus 9 Number 2) Classical Music for Tablet Series ♫ Alexander Nikolayevich Scriabin [1871 – 1915] was a Russian composer and virtuoso pianist. Before 1903, Scriabin was greatly influenced by the music of Frédéric Chopin and composed in a relatively tonal, late Romantic idiom. Later, and independently of his influential contemporary, Arnold Schoenberg, Scriabin developed a much more dissonant musical language that had transcended usual tonality but was not atonal. He composed almost exclusively for solo piano and for orchestra. [condensed from Wikipedia October 2022] ♫ I was introduced to this piece by my piano teacher, Jenny Wong, after injuring my right arm and needing to rest it. ♫ Nocturne for Left Hand Alone belongs to the earlier period of his work. ♫ Edited for 10 inch tablet by Stephen R Dalrymple ♫ Performed by the Editor. Compositions for left hand alone are valuable in developing and testing phrasing in the left hand. The most beautiful tone quality will be elusive if the left hand is weak in technique or phrasing. ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99
Paul Wehage: To You for baritone, tenor saxophone and piano
#
Paul Wehage
#
Paul Wehage: To You for barito
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,St...
(+)
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
Carson Cooman : Quartet for Piano and Strings (A Sea Liturgy) (2009) for violin, viola, cello and pi
#
Carson Cooman
#
Carson Cooman : Quartet for Pi
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Quartet,String Ensemble - Level 5 - SKU: A0.775997 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 75 pages. Musik Fabrik Musi...
(+)
Piano Quartet,String Ensemble - Level 5 - SKU: A0.775997 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 75 pages. Musik Fabrik Music Publishing #2035303. Published by Musik Fabrik Music Publishing (A0.775997). Quartet for Piano and Strings (A Sea Liturgy) (2009) was jointly commissioned for the Moscow Studio for New Music and the Arcturus Chamber Ensemble (Sarah Darling, artistic director). It is dedicated to the Arcturus Chamber Ensemble on its 10th anniversary. The work is cast in a single movement and is conceived as a sea liturgy. It attempts to conjure up an imagined set of spiritual rituals (not connected to any specific religion)-a ceremony of transformation and renewal performed in the context of a sea landscape. Though not broken into movements, the formal design of the work could be seen as follows: Processional - (Ritornello) - Invocation - Offering - (Ritornello) - Baptism - Rebirth - Recessional As with so many of my works, much of the initial musical planning took place in the context of the oceanscapes of Nantucket Island, Massachusetts. Those particular sea landscape were foremost in my mind while writing. The listener may also discard the imagined liturgical apparatus and simply listen to the work as a series of seascapes. (For the purposes of narrative clarity, the above section descriptors will be used in the below narrative.) The opening Processional begins with focused, austere intensity: the instruments unfold from a single pitch (E) into a more rich harmonic landscape. A Ritornello of pulsating string harmonics leads into Invocation, a warmly lyrical discourse. The Offering is a faster, jubilant development of the Invocation, where the prayerful melodies of the Invocation are transformed into a gift for the sea. A return of the Ritornello leads to the Baptism. In this section, heterophonic melodies unfold out of the new substrate pitch (D). In the transforming crucible of the water, these lines becomes more and more extended harmonically. The Rebirth is a dancing development of the Baptism; the harmonic extensions are pushed from dissonance into chords of pure joy. Emerging out of the afterglow of the Rebirth is the Recessional, in which the music of the Processional is revisited, now transformed by the ritual to center on the pitch D. The Recessional fades away peacefully, yet fervently.
$38.95
Sonata for Oboe d'Amore and Piano
#
David Baker
#
Sonata for Oboe d'Amore and Pi
#
Forton Music - Digital
#
SheetMusicPlus
Ob D. Pft. - Advanced - SKU: F2.FM786 Composed by David Baker. Advanced three movement sonata for this neglected instrument. Score and Part. 28 pages. F...
(+)
Ob D. Pft. - Advanced - SKU: F2.FM786 Composed by David Baker. Advanced three movement sonata for this neglected instrument. Score and Part. 28 pages. Forton Music - Digital #FM786. Published by Forton Music - Digital (F2.FM786). ISBN 9790570486854.
$15.95
Sonata for Cor Anglais and Piano
#
Emanuel Vahl
#
Sonata for Cor Anglais and Pia
#
Forton Music - Digital
#
SheetMusicPlus
Ca. Pft. - Advanced - SKU: F2.FM646 Composed by Emanuel Vahl. The music of Emanuel Vahl is shaped by his Russian heritage and training, and his conseque...
(+)
Ca. Pft. - Advanced - SKU: F2.FM646 Composed by Emanuel Vahl. The music of Emanuel Vahl is shaped by his Russian heritage and training, and his consequent move to Israel. Tonally centred, but with modern sensibilities and unmistakeable touches of the folk music of his two homes. Score and Parts. 32 pages. Forton Music - Digital #FM646. Published by Forton Music - Digital (F2.FM646). ISBN 9790570485451.
$12.95
Arirang (For Piano Trio)
#
Contemporain
#
Han-Ki Kim
#
#
Arirang
#
Han-Ki Kim
#
SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.511808 Composed by Han-Ki Kim. Classical,Contemporary,Instructional,Multicultural,Standards,World. Score ...
(+)
Piano Trio,String Ensemble - Level 5 - SKU: A0.511808 Composed by Han-Ki Kim. Classical,Contemporary,Instructional,Multicultural,Standards,World. Score and parts. 18 pages. Han-Ki Kim #6437551. Published by Han-Ki Kim (A0.511808). Arirang for Piano Trio Op.154EThis music is based on a string ensemble composed for Italian ensemble I Musici, they asked me to write a music to commemorate their 60th anniversary (2012). The conclusion of the idea that a music to celebrate their founding should be special was to write a music based on our folk song. Since the folk song “Arirangâ€, which contains the soul of our ancestors, is unique to Korea, it has great meaning in celebrating their anniversary with our own, and especially these days, when the desire to find ours is strong, our melody is performed on the world stage. I wanted to give a second meaning to what I left behind. I want both the performer and the audience to feel “musical sympathy†with this “Arirang,†which is an effort to give value as an artistic document to a folk song that is familiar to everyone. Following the short and fast introduction in 3/4 time, it is connected in the form of 5 variations in 6/8 time. Each variation expresses a different musical atmosphere, performance speed, or change in composition. In general, the main melody is mainly played by the first violin, but as far as the main melody is concerned, in this music, high-pitched instruments and low-pitched instruments intersect and cycle in equal positions, not in a melodicline relationship. After the fourth variation, a virtuosic solo of the movement alone is connected, and after the finale with a broad and majestic atmosphere, it ends with a short and lively coda with the same character as the beginning. Attached music is played by String ensemble just for a reference.
$6.90
Concerto for Oboe d’amore in E Minor, Op. 9 No. 8
#
Classique
#
Tomaso Albinoni
#
Don Werdick (1946 - )
#
Concerto for Oboe d’amor
#
Chamber Ensemble of Minnesota, Inc.
#
SheetMusicPlus
Instrumental Solo,Oboe d'Amore - Level 5 - SKU: A0.955163 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Individua...
(+)
Instrumental Solo,Oboe d'Amore - Level 5 - SKU: A0.955163 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Individual part. 39 pages. Chamber Ensemble of Minnesota, Inc. #5884093. Published by Chamber Ensemble of Minnesota, Inc. (A0.955163). Oboe d’amore solo part and full score of the Concerto for Oboe in G Minor, Op. 9, No. 8 and String Orchestra, composed in 1722 by T. Albinoni, arranged in E minor for Oboe d’amore and string orchestra by D Werdick. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 10 minutes, 12 seconds During the Baroque period (c. 1600 to 1750) music written in the Italian style, and German music to a lesser degree, scores and solo parts contain little (if any) information about elements like articulation, ornamentation or dynamics, so the soloists and ensemble players needed to make their own informed choices before each performance. This arrangement for Oboe d’amore offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music ... 2020 Chamber Ensemble of Minnesota, Inc.
$9.00
Concerto for Oboe d’amore in G Major, Op. 9 No. 11
#
Classique
#
Tomaso Albinoni
#
Don Werdick (1946 - )
#
Concerto for Oboe d’amor
#
Chamber Ensemble of Minnesota, Inc.
#
SheetMusicPlus
Instrumental Duet Instrumental Duet,Oboe d'Amore,Piano - Level 5 - SKU: A0.955169 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946...
(+)
Instrumental Duet Instrumental Duet,Oboe d'Amore,Piano - Level 5 - SKU: A0.955169 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 39 pages. Chamber Ensemble of Minnesota, Inc. #6050887. Published by Chamber Ensemble of Minnesota, Inc. (A0.955169). Oboe d’amore solo arrangement, Piano accompaniment and Score of the Concerto for Oboe in Bb Major, Op. 9, No. 11 and String Orchestra, composed in 1722 by T. Albinoni, arranged in G Major for String Orchestra and Oboe d’amore by D Werdick. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 10 minutes, 50 seconds During the Baroque period (c. 1600 to 1750) music written in the Italian style, and German music to a lesser degree, scores and solo parts contain little (if any) information about elements like articulation, ornamentation or dynamics, so the soloists and ensemble players needed to make their own informed choices before each performance. This Oboe d’amore arrangement offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music ... 2020 Chamber Ensemble of Minnesota, Inc. Publishing.
$8.75
Sinfonietta for Percussion Trio
#
Contemporain
#
measure 41, the transition has
#
Dan Heslink
#
 
#
Sinfonietta for Percussion Tri
#
Pharaoh Publications
#
SheetMusicPlus
Large Ensemble Bass Drum,Drums,Marimba,Multi-Percussion,Snare Drum,Vibraphone,Xylophone - Level 5 - SKU: A0.935386 Composed by Dan Heslink. Contemporary...
(+)
Large Ensemble Bass Drum,Drums,Marimba,Multi-Percussion,Snare Drum,Vibraphone,Xylophone - Level 5 - SKU: A0.935386 Composed by Dan Heslink. Contemporary. Score and parts. 46 pages. Pharaoh Publications #6058011. Published by Pharaoh Publications (A0.935386). Sinfonietta composed by Dan Heslink Sinfonietta is a trio for vibraphone, marimba and percussion (xylophone, snare drum, and bass drum). Its expression is intended to be non-representational, presenting only an interesting technical construction in a suave formal organization. With the title the composer designates a single movement, with length and seriousness of expression approaching a symphonic movement. Its form approximates an expanded version of the classical sonata-allegro, dividing materials into three large sections. Beginning are the two main phrases of the principal theme, which establish patterns that are idiomatic throughout the movement. The first measure’s quartal harmonies divide into rhythms alternating the two hands, the right-hand posing a melody and the left-hand complementing it with harmony and rhythmic repetition. The phrase at measure 7 is a long-breathed melody for vibes accompanied by undulating chords in the marimba. A transition comprising highly qualitative rhythms (stated first by the marimba in m. 20.) has much identity. By measure 41, the transition has grown into a full secondary theme, one that is developed and repeated often throughout the movement. The exposition closes with a theme beginning in measure 51. It is announced by the vibes as another long-breathed melody unfolding over the active rhythm of the second theme. After a gradual dissipation, the development section starts at measure 92 with a new but related theme, heard first in the vibes. It offers a different key and an expressive melody slowly unfolding over rhythmically active harmonies. The remainder of this middle section explores nuances of the secondary and closing themes, and ultimately leads to the movement’s first climax. It eventually dissipates through a gradual reduction of density and tempo. The Reprise begins vigorously at m. 118 with statements of both the principal theme’s phrases. Then the second theme is transformed by the addition of bass drum strokes, which sets up a codetta. This section comprises a long crescendo on the new theme over a rhythmic tattoo derived from the second theme, and builds to a bold conclusion. Pedaling on the vibes is indicated with a solid bracket below the connected notes, and half pedaling with a dashed bracket. It is imperative that the percussion part be heard but not dominate. The performer is encouraged to experiment with a piccolo snare drum and 28 bass drum. Sinfonietta would serve equally well in a professional, college or advanced high school percussion recital. The composer assigns a difficulty level of medium difficult. Duration is 8:10. The composer, Dan Heslink, can be contacted at dan@dheslink.com.
$9.99
Sonata Pian ‘e Forte for 8-part Antiphonal Trombone Ensemble
#
Giovanni Gabrieli
#
Russell McKinney
#
Pian
 
#
Sonata Pian ‘e Forte for
#
Gordon Cherry
#
SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.792814 Composed by Giovanni Gabrieli. Arranged by Russell McKinney. Baroque,Classical,Renaissance. Score and...
(+)
Brass Ensemble Trombone - Level 5 - SKU: A0.792814 Composed by Giovanni Gabrieli. Arranged by Russell McKinney. Baroque,Classical,Renaissance. Score and parts. 14 pages. Gordon Cherry #6641859. Published by Gordon Cherry (A0.792814). Gabrieli's Sonata Pian 'e Forte for 8-part Antiphonal Trombone Ensemble has been beautifully arranged (down a fifth from the original key) by Russel McKinney. The work (Ch.175) is part of the 1597 Sacrae symphoniae, published posthumously which contains sixty-three choral and instrumental works, many in multi-choir formations. This 8-part Sonata is in two choirs....a high one and a low one (in this case choir II uses three bass trombones with an optional Contrabass Trombone!)The most unique aspect of this masterpiece is its use of printed dynamics...originally thought to be the first work of its sort; Pian (soft) and Forte (loud). These dynamic markings are central to the structure of the work.This 4 1/2 minute work is appropriate for moderately advanced to advanced performers. Parts 1 A and B are in tenor clef. Parts 4A, 2B,2C & 2D are for Tenor-Bass or Bass Trombones. Part 4B may be performed by a Contrabass Trombonist.The dramatic performance of the sound sample is by the arranger himself, Bass Trombonist Russell McKinney playing both tenor and bass trombones.The most unique aspect of this masterpiece is its use of printed dynamics...originally thought to be the first work of its sort; Pian (soft) and Forte (loud). These dynamic markings are central to the structure of the work.This 4 1/2 minute work is appropriate for moderately advanced to advanced performers. Parts 1 A and B are in tenor clef. Parts 4A, 2B,2C & 2D are for Tenor-Bass or Bass Trombones. Part 4B may be performed by a Contrabass Trombonist.
$22.50
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, full set of parts on
#
Christian contemporain
#
Musique Sacrée
#
Carson Cooman
#
Carson Cooman: Symphony No. 3,
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #303...
(+)
Small Ensemble - Level 5 - SKU: A0.533673 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 134 pages. Musik Fabrik Music Publishing #3037307. Published by Musik Fabrik Music Publishing (A0.533673). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the complete set of parts. The full score and the individual parts are avaialbe as seperate items.
$64.95
FORESTS for 10 Trombones
#
Contemporain
#
Henry Wolking
#
FORESTS for 10 Trombones
#
Gordon Cherry
#
SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.792676 Composed by Henry Wolking. Contemporary. Score and parts. 58 pages. Gordon Cherry #5709507. Published...
(+)
Brass Ensemble Trombone - Level 5 - SKU: A0.792676 Composed by Henry Wolking. Contemporary. Score and parts. 58 pages. Gordon Cherry #5709507. Published by Gordon Cherry (A0.792676). Henry Wolking has written an exciting new work for Trombone Ensemble: FORESTS for 10 TROMBONES. This work, written for advanced performers is perfectly suited for nature lovers and the outdoors as it features the following special effect sounds: water, bird calls, the wind, the colors of the forest and winter storms. As well, the composer uses multiple mute colors, enhancing the sound of the music. The instrumentation is for two choirs of five with: 2 alto trombones, 6 tenor trombones and 2 bass trombones. It is about 10 minutes in length.
$40.00
The Hebrides Overture (Fingal's Cave) for woodwind ensemble
#
Classique
#
Felix Bartholdy Mendelssohn
#
Catriona Melville-Mason
#
The Hebrides Overture
#
C Melville-Mason
#
SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.956662 Composed by Felix Bartholdy Mendelssohn. Arranged by Catriona Melville-Mason. Romantic Period. Score and parts...
(+)
Small Ensemble - Level 5 - SKU: A0.956662 Composed by Felix Bartholdy Mendelssohn. Arranged by Catriona Melville-Mason. Romantic Period. Score and parts. 127 pages. C Melville-Mason #6735335. Published by C Melville-Mason (A0.956662). This is an arrangement of Mendelssohn’s overture The Hebrides (Fingal’s Cave), intended for a medium-sized woodwind group of perhaps 20 – 30 players. It has been categorised as ‘advanced’, as the length and tempo of the work make it quite challenging. However, provided the main parts are covered by competent players, those with less experience can either double, judiciously omitting any problem sections, or opt for the appropriate ‘easier’ add-on part.This is great fun to attempt, even if your ensemble may not manage it up to performance standard!The piece is scored for the following instrumentation: Essential Parts: Part 1: Flute Part 2: Flute Part 3: Oboe Part 4: Clarinet in B-flat Part 5: Clarinet in B-flat (contains essential divisi, so minimum of 2 players essential) Part 6: Clarinet in B-flat Part 7: Clarinet in B-flat OR Part 7: Alto Saxophone Part 8: Alto Saxophone Part 9: Alto Saxophone Part 10: Bassoon OR Part 10: Bass Clarinet in B-flat (low C instrument essential) Optional add-ons: Easier Flute/Oboe Low Clarinet in B-flat Easier Alto Saxophone Easier Tenor Saxophone Mini-Bassoon in F (an extra, NOT an easy, part) Easier Bassoon Mendelssohn visited Scotland in 1829 and, after a tour of the Highlands, travelled by steamer from Fort William to Oban and thence to the Hebridean island of Mull. From there, he made the short boat trip to the small island of Staffa, to visit Fingal’s Cave – a sea cave formed of hexagonal basalt columns, with a highly intriguing natural acoustic. The Hebrides overture was inspired by this segment of Mendelssohn’s Scottish travels. The work is an early example of a tone poem: a musical representation of the scenery, wind and weather of the Scottish Hebridean islands, reflecting their sudden and infinite changeability. After some revisions, the overture received its first performance in May 1832 and remains a favourite with audiences to this day. It has been central in establishing – and sustaining – the popularity of Fingal’s Cave as a tourist destination. This arrangement was originally created for a woodwind course held on another Scottish island – Skye, which is the largest and most northerly of the Inner Hebrides.
$45.00
The Hebrides Overture (Fingal's Cave) for Saxophone Orchestra
#
Classique
#
Felix Bartholdy Mendelssohn
#
Catriona Melville-Mason
#
The Hebrides Overture
#
C Melville-Mason
#
SheetMusicPlus
Woodwind Ensemble - Level 5 - SKU: A0.956663 Composed by Felix Bartholdy Mendelssohn. Arranged by Catriona Melville-Mason. Romantic Period. 91 pages. C ...
(+)
Woodwind Ensemble - Level 5 - SKU: A0.956663 Composed by Felix Bartholdy Mendelssohn. Arranged by Catriona Melville-Mason. Romantic Period. 91 pages. C Melville-Mason #6735339. Published by C Melville-Mason (A0.956663). This is an arrangement of Mendelssohn’s overture The Hebrides (Fingal’s Cave), intended for a medium-sized saxophone orchestra. It has been categorised as ‘advanced’, as the length and tempo of the work make it quite challenging. However, provided the main parts are covered by competent players, those with less experience can either double, judiciously omitting any problem sections, or in some cases opt for the appropriate ‘easier’ add-on part. Essential Parts: Part 1: Sopranino Saxophone Part 2: Soprano Saxophone Part 3: Alto Saxophone Part 4: Alto Saxophone Part 5: Alto Saxophone Part 6: Tenor Saxophone Part 7: Tenor Saxophone Part 8: Baritone Saxophone Part 9: Bass Saxophone Optional Parts: Easier Alto Saxophone Easier Tenor Saxophone Contrabass Saxophone Mendelssohn visited Scotland in 1829 and, after a tour of the Highlands, travelled by steamer from Fort William to Oban and thence to the Hebridean island of Mull. From there, he made the short boat trip to the small island of Staffa, to visit Fingal’s Cave – a sea cave formed of hexagonal basalt columns, with a highly intriguing natural acoustic. The Hebrides overture was inspired by this segment of Mendelssohn’s Scottish travels. The work is an early example of a tone poem: a musical representation of the scenery, wind and weather of the Scottish Hebridean islands, reflecting their sudden and infinite changeability. After some revisions, the overture received its first performance in May 1832 and remains a favourite with audiences to this day. It has been central in establishing – and sustaining – the popularity of Fingal’s Cave as a tourist destination. This is an adaptation of an arrangement that was originally created for a woodwind course held on another Scottish island – Skye, which is the largest and most northerly of the Inner Hebrides.
$45.00
Allegro (from "Concerto for Four Claviers") (A min) (String Quintet - 2 Violins, 1 Viola, 1 Cello, 1
#
Classique
#
Johann Sebastian Bach
#
Regis Bookshar
#
Allegro
#
Regis Bookshar
#
SheetMusicPlus
String Ensemble,String Quintet - Level 5 - SKU: A0.813376 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Concert,Instructional,S...
(+)
String Ensemble,String Quintet - Level 5 - SKU: A0.813376 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Concert,Instructional,Standards,World. Score and parts. 43 pages. Regis Bookshar #6209757. Published by Regis Bookshar (A0.813376). String Quintet - Advanced - . This must-have arrangement would be a fabulous addition to any music library and could be performed for concerts and recitals and could also be performed for church services. This brilliant work by Johann Sebastian Bach is an adaptation of Antonio Vivaldi's Concerto for Four Violins and String Orchestra in B minor. Bach had gotten to know Vivaldi's concertos while he was an organist at Weimar, where he transcribed ten of them for solo harpsichord and six of them for organ. Originally written in B minor, Bach transposed it to A minor and, while preserving the melodic outline as conceived by Vivaldi for four violins, this later adaptation, from around 1730, for four harpsichords and string orchestra, is far more ambitious. In it, Bach has both tightened and expanded Vivaldi's counterpoint, enriched it with lusher harmonies and expanded the solo parts with greater complexity and greater clarity. The result is a composition that actually improves on the original work. Written in the standard three-movement concerto form of the Baroque period, Bach's Concerto for Four Claviers in A minor is a virtuoso piece for the soloists. Regis Bookshar has now rearranged the first movement of this concerto, marked Allegro, for a String Quintet, consisting of 2 Violins, 1 Viola, 1 Violoncello and 1 Double Bass, while maintaining the energy and virtuosity of Bach's original work. This arrangement is intended to be performed by accomplished players and may prove to be a huge challenge for many players, but, I think, it will be worth the effort. Included are a score and a complete set of parts (43 pages). In addition to this version for a String Quintet, other arrangements of this selection are also available for a variety of Instrumental Quintets, some of which are in the original key of Concert A minor and some have been transposed to Concert G minor, making it a little easier for some performers, as well as numerous other arrangements in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will be a challenge to many performers but will continue to entertain both performers and audiences alike for years to come. I hope you will enjoy it as much as I have enjoyed working on it.
$35.00
Allegro (from "Concerto for Four Claviers") (G min) (French Horn Quintet)
#
Classique
#
Johann Sebastian Bach
#
Regis Bookshar
#
Allegro
#
Regis Bookshar
#
SheetMusicPlus
Brass Ensemble Horn - Level 5 - SKU: A0.813400 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Instructional,Multicultural,Standa...
(+)
Brass Ensemble Horn - Level 5 - SKU: A0.813400 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Instructional,Multicultural,Standards,World. Score and parts. 45 pages. Regis Bookshar #6209809. Published by Regis Bookshar (A0.813400). French Horn Quintet - Advanced - . This must-have arrangement would be a fabulous addition to any music library and could be performed for concerts and recitals and could also be performed for church services. This brilliant work by Johann Sebastian Bach is an adaptation of Antonio Vivaldi's Concerto for Four Violins and String Orchestra in B minor. Bach had gotten to know Vivaldi's concertos while he was an organist at Weimar, where he transcribed ten of them for solo harpsichord and six of them for organ. Originally written in B minor, Bach transposed it to A minor and, while preserving the melodic outline as conceived by Vivaldi for four violins, this later adaptation, from around 1730, for four harpsichords and string orchestra, is far more ambitious. In it, Bach has both tightened and expanded Vivaldi's counterpoint, enriched it with lusher harmonies and expanded the solo parts with greater complexity and greater clarity. The result is a composition that actually improves on the original work. Written in the standard three-movement concerto form of the Baroque period, Bach's Concerto for Four Claviers in A minor is a virtuoso piece for the soloists. Regis Bookshar has now rearranged the first movement of this concerto, marked Allegro, for a French Horn Quintet, while maintaining the energy and virtuosity of Bach's original work. This arrangement is intended to be performed by accomplished players. It may prove to be a huge challenge for many players, but, I think, it will be worth the effort. Included are a score and a complete set of parts (45 pages). In addition to this version for 5 French Horns, other arrangements of this selection are also available for a variety of Instrumental Quintets, some of which are in the original key of Concert A minor and some have been transposed to Concert G minor, making it a little easier for some performers, as well as numerous other arrangements in a wide variety of styles. I would encourage you to search for other arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that this exciting arrangement will be a challenge to many performers but will continue to entertain both performers and audiences alike for years to come. I hope you will enjoy it as much as I have enjoyed working on it.
$35.00
<
1
26
51
....
6076
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale