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Vous avez sélectionné:
After-Glow
Partitions à imprimer
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After Glow
Woodwind Ensemble Alto Flute,Piccolo - Level 3 - Digital Download SKU: A0.1150802 B…
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Woodwind Ensemble Alto Flute,Piccolo - Level 3 - Digital Download SKU: A0.1150802 By Spencer Bundy. By George L Cobb. Arranged by Spence Bundy. 20th Century,Ragtime. 22 pages. Spencer Bundy #750984. Published by Spencer Bundy (A0.1150802). This lovely piece dates from 1914. It would be ideal for any group playing background music but could also be used for a lighter concert piece.
$5.99
5.41 €
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Spencer Bundy
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Spence Bundy
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After Glow
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Spencer Bundy
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SheetMusicPlus
After Glow
Woodwind Ensemble Bass Clarinet - Level 3 - Digital Download SKU: A0.1150797 By Spe…
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Woodwind Ensemble Bass Clarinet - Level 3 - Digital Download SKU: A0.1150797 By Spencer Bundy. By George L Cobb. Arranged by Spence Bundy. 20th Century,Ragtime. 22 pages. Spencer Bundy #750979. Published by Spencer Bundy (A0.1150797). This piece dates from 1914 and would be useful for any group playing background music but could also be used as a lighter concert item.
$6.00
5.42 €
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Spencer Bundy
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Spence Bundy
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After Glow
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Spencer Bundy
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SheetMusicPlus
Afternoon glows
Hand Drum,Handpan,Instrumental Solo,Steel Pan - Digital Download SKU: A0.1436401 By…
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Hand Drum,Handpan,Instrumental Solo,Steel Pan - Digital Download SKU: A0.1436401 By Claudia Zinserling. By Claudia Zinserling. Arranged by Claudia Zinserling. 21st Century,Contemporary,Multicultural,Pop,Spiritual,World. Individual part. 6 pages. Zinserling Claudia #1016512. Published by Zinserling Claudia (A0.1436401). This is a handpan song for advanced players. It is written in the number-system, each tonefield of the handpan has it's number (normally counting from 0-8, depending on the number of tonefields of the handpan). The composition is in Dm Key, Dminor Amara Tuning sounds best for this song.
$6.50
5.87 €
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Claudia Zinserling
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Claudia Zinserling
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Afternoon glows
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Zinserling Claudia
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SheetMusicPlus
The Night Window
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1210354 Composed by Thomas Newman. Arranged by Robert Luke Thompson. Classical,Contemporary,Film/TV. Brass Band. 33 pages. Monkspath Music #808128. Published by Monkspath Music (A0.1210354). The Night Window is a hauntingly beautiful instrumental piece that features in Sam Mendes’ World War I film, 1917. Composed by Thomas Newman, the score is a masterpiece of orchestration that captures the emotional intensity of war.This arrangment for Brass Band will work perfectly in any film music concert, or even a Remembrance related event. The Night Window is featured in a pivotal scene where the film's protagonist, Lance Corporal Schofield, takes refuge in an abandoned house during a tense night-time sequence. As Schofield takes a moment to rest and recover from his harrowing journey, he notices a window covered in beautiful stained glass that casts an ethereal glow over the room. The haunting melody of The Night Window begins to play as Schofield reflects on his experiences and contemplates the task ahead of him – saving the lives of sixteen-hundred men. As the title suggests, the music conveys the image of a night scene. The piece begins softly, with a gentle motif that evokes the stillness of the night. As the piece progresses, the music gradually builds in intensity and texture, whilst the camera slowly zooms in on the window, highlighting its beauty and fragility. The piece reaches its climax as Schofield gazes out of the window, and the camera pulls back to reveal the ruins of a once-beautiful town, now ravaged by war. The Night Window perfectly captures the sense of loss and devastation that war brings, while also conveying a glimmer of hope and beauty amid the darkness. A powerful piece of music that perfectly captures the emotions and themes of 1917. Its haunting beauty and evocative melodies make it a standout track in the film's score, and a piece that will linger in the listener's mind long after the credits have rolled.For further pieces, view the Monkspath Music catalogue and click here!
$39.99
36.12 €
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Thomas Newman
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Robert Luke Thompson
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The Night Window
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Monkspath Music
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SheetMusicPlus
Afterglow
Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1488896 Composed by Tony…
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Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1488896 Composed by Tony Banks. Arranged by Jeff Tincher. Contemporary,Pop,Rock,Singer/Songwriter. 15 pages. Jeff Tincher #1065751. Published by Jeff Tincher (A0.1488896). This is the finale song from Genesis' Wind And Wuthering lp. In the original key, this beautiful ballad was a staple in their live concerts. This arrangement includes the live ending from their farewell tour concert at the O2 Arena in London, England. Duration = 4:33. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing.
$12.99
11.73 €
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Tony Banks
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Jeff Tincher
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Afterglow
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Jeff Tincher
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged …
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.31 €
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Giovvanni Gabrieli
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James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199…
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
43.31 €
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Mahler Songs of a Wayfarer No. 3
Small Ensemble Bass Trombone,Piano Accompaniment - Digital Download SKU: A0.961356 …
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Small Ensemble Bass Trombone,Piano Accompaniment - Digital Download SKU: A0.961356 Composed by Gustav Mahler. Arranged by Philip Brink. 20th Century,Romantic Period. Score and parts. 7 pages. Philip Brink #4888963. Published by Philip Brink (A0.961356). After the disillusionment of the first song and the liveliness of the second, Song No. 3 is dramatic in great degree. I have a glowing dagger in my breast!
$6.50
5.87 €
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Gustav Mahler
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Philip Brink
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Mahler Songs of a Wayfarer No. 3
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Philip Brink
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SheetMusicPlus
Long Ago
Small Ensemble Cello,Piano,Voice - Level 3 - Digital Download SKU: A0.951307 Compos…
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Small Ensemble Cello,Piano,Voice - Level 3 - Digital Download SKU: A0.951307 Composed by 1.Michael Hoppe 2. Martin Tillman. 20th Century,New Age,Spiritual. Score and parts. 3 pages. Chordially Yours Music #5753431. Published by Chordially Yours Music (A0.951307). Long Ago is one of my all time favorite tracksfrom the multi award winning AfterglowFeaturing cello and keyboards.
$4.99
4.51 €
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1
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Long Ago
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Chordially Yours Music
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SheetMusicPlus
Carson Cooman : Quartet for Piano and Strings (A Sea Liturgy) (2009) for violin, viola, cello and pi
Piano Quartet,String Ensemble - Level 5 - Digital Download SKU: A0.775997 Composed …
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Piano Quartet,String Ensemble - Level 5 - Digital Download 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
35.18 €
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Carson Cooman
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Carson Cooman : Quartet for Piano and Strings
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Musik Fabrik Music Publishing
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SheetMusicPlus
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