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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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XYLOPHONE
Study nº1
Non classifié
18
Piano & claviers
Piano seul
8
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2
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6
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2
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1
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1
Vents
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3
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2
Flûte, Hautbois, Clarinette, Basson
1
Flûte traversière et Piano
1
Flûte, Clarinette (duo)
1
Clarinette
1
Clarinette Basse
1
+ 2 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Trompette
1
Cordes
Violoncelle
1
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17
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1
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1
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--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
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XYLOPHONE
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ASIE
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ENFANTS : EVEIL - IN…
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Crtitères actifs :
Study nº1
Partitions à imprimer
18 partitions trouvées
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1
Percussion Study Nº1
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Sebastián Vallejo Pérez
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Percussion Study Nº1
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Sebastián Vallejo Pérez
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SheetMusicPlus
Multi-Percussion,Percussion Solo - Level 3 - SKU: A0.1375562 By Sebastián Vallejo Pérez. By Sebastián Vallejo Pérez. 20th Century,21st Centu...
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Multi-Percussion,Percussion Solo - Level 3 - SKU: A0.1375562 By Sebastián Vallejo Pérez. By Sebastián Vallejo Pérez. 20th Century,21st Century,Chamber,Contemporary,Instructional. Individual part. 6 pages. Sebastián Vallejo Pérez #960097. Published by Sebastián Vallejo Pérez (A0.1375562). Short study for multi-percussion set using snare drum, vibraphone, and suspended cymbal.
$2.00
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'...
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Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Primo Movimento - Allegro
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Classique
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Karl Friedrich Abel
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Guido Menestrina
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Karl Friedrich Abel - Sinfonia
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Guido Menestrina
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SheetMusicPlus
Small Ensemble Cello,English Horn,Oboe,Viola,Violin - Level 3 - SKU: A0.828699 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical....
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Small Ensemble Cello,English Horn,Oboe,Viola,Violin - Level 3 - SKU: A0.828699 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 37 pages. Guido Menestrina #119775. Published by Guido Menestrina (A0.828699). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Primo Movimento - Allegro Karl Friedrich Abel - Symphony Op. 7 n. 1 - First Movement - Allegro Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen,[3][4] a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787.[citation needed] One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. https://www.youtube.com/watch?v=bN3mtmg-rLI.
$7.99
Laenlder D 814 n.1. Quartet
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Classique
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Franz Schubert
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Ester Alessandrini
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Laenlder D 814 n.1. Quartet
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ester
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SheetMusicPlus
Flute,Guitar,Piano,Violin - SKU: A0.1063985 Composed by Franz Schubert. Arranged by Ester Alessandrini. Concert,Holiday,Love,Romantic Period,Wedding. Fu...
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Flute,Guitar,Piano,Violin - SKU: A0.1063985 Composed by Franz Schubert. Arranged by Ester Alessandrini. Concert,Holiday,Love,Romantic Period,Wedding. Full Performance. Duration 54. Ester #4839773. Published by ester (A0.1063985). Easy transcription for flute, violin, guitar and piano and adapted to students during the first 3 years of study.
$3.00
Laendler D814 n.1. Quartet
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Classique
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Franz Schubert
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Ester Alessandrini
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Laendler D814 n.1. Quartet
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ester
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SheetMusicPlus
Flute,Guitar,Piano,Violin - SKU: A0.1064090 Composed by Franz Schubert. Arranged by Ester Alessandrini. Concert,Holiday,Love,Romantic Period,Wedding. Ac...
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Flute,Guitar,Piano,Violin - SKU: A0.1064090 Composed by Franz Schubert. Arranged by Ester Alessandrini. Concert,Holiday,Love,Romantic Period,Wedding. Accompaniment. Duration 54. Ester #5325323. Published by ester (A0.1064090). Transcription for flute, violin, guitar and piano quartet at the first 3 years of study.
$3.00
Epitaffio 1, 2 e 3 auf Federico García Lorca
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Luigi Nono
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Epitaffio 1, 2 e 3 auf Federic
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Schott Music - Digital
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SheetMusicPlus
Soli, small mixed Choir and Instruments (1) - Flute and small Orchestra (2) - Speaker, Spreaking choir, mixed Choir and Orchestra (3) - SKU: S9.Q307 ...
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Soli, small mixed Choir and Instruments (1) - Flute and small Orchestra (2) - Speaker, Spreaking choir, mixed Choir and Orchestra (3) - SKU: S9.Q307 (1) Espana en el corazón nach Gedichten von Lorca und Neruda - (2) Y su sangre ya viene cantando - (3) Memento - Romance de la Guardia civil espanola. Composed by Luigi Nono. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 45 minutes. Schott Music - Digital #Q307. Published by Schott Music - Digital (S9.Q307).
$39.99
Scenes from Childhood Op.15 No.1 for 4 Bb Clarinets
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Classique
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R
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Nichole N
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Scenes from Childhood Op.15 No
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Nichole N
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SheetMusicPlus
Woodwind Ensemble - Level 2 - SKU: A0.909648 Composed by R. Schumann. Arranged by Nichole N. Instructional,Romantic Period,Standards. 8 pages. Nichole N...
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Woodwind Ensemble - Level 2 - SKU: A0.909648 Composed by R. Schumann. Arranged by Nichole N. Instructional,Romantic Period,Standards. 8 pages. Nichole N #3663753. Published by Nichole N (A0.909648). Arranged for 4 Bb Clarinets. Note range is from low A to high A. It's very short piece but good for learning A-major Key and triplet study. .
$3.59
Impromptu Study n.1 in C for piano
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Methodes
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Santino Cara
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Impromptu Study n.1 in C for p
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Santino Cara
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SheetMusicPlus
Woodwind Ensemble (4-Part) - Level 4 - SKU: A0.516363 Composed by Santino Cara. Instructional. 5 pages. Santino Cara #2010499. Published by Santino Cara...
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Woodwind Ensemble (4-Part) - Level 4 - SKU: A0.516363 Composed by Santino Cara. Instructional. 5 pages. Santino Cara #2010499. Published by Santino Cara (A0.516363). From 5 Impromptu studies for piano op. CS 228 by Santino Cara, composed in Rome in june of 2013.
$4.10
Il est nè le Divin Enfant quartet
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Anonimo
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Ester Alessandrini
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Il est nè le Divin Enfa
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ester
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SheetMusicPlus
Small Ensemble Flute,Guitar,Piano,Violin - Level 1 - SKU: A0.758515 Composed by Anonimo. Arranged by Ester Alessandrini. Children,Christian,Christmas,Cl...
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Small Ensemble Flute,Guitar,Piano,Violin - Level 1 - SKU: A0.758515 Composed by Anonimo. Arranged by Ester Alessandrini. Children,Christian,Christmas,Classical,Concert. Score and parts. 7 pages. Ester #4847203. Published by ester (A0.758515). French Christmas song arranged for flute, violin, guitar and piano quartet at the first 3 years of study.
$7.00
Pneuma
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Heinz Holliger
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Pneuma
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Schott Music - Digital
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SheetMusicPlus
Wind Instruments, Percussion, Organ and Radios - SKU: S9.Q51849 Composed by Heinz Holliger. This edition: study score. Music Of Our Time. Downloadable, ...
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Wind Instruments, Percussion, Organ and Radios - SKU: S9.Q51849 Composed by Heinz Holliger. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 16 minutes. Schott Music - Digital #Q51849. Published by Schott Music - Digital (S9.Q51849). 4 * 4 (auch 2 Engl. Hr.) * 4 * 4 - 4 * 4 (auch Trp. in hoch B) * 4 * 2 - 3 P. S. (4-8 Trgl. * 2 Beck. [hoch] * 2 hg. Beck. [hoch/mittel] * Sizzle-Beck. * 2 Tamt. [mittel/tief] * 4 Bong. * kl. Tr. m. Schnarrsaite * gr. Tr. * 4 Einfell-Tomt. oder Timb. * 2 Metallbl. * Glass-Windchimes * 2 Sandbl. * Bamboo-Woodchimes * 2 Mar. [hoch/mittel] * Peitsche * 2 Ruten * Guero * Flexaton * 1-4 kleine Lotusflote(n) * starke Transparentpapiere * Seidenpapier) (4 Spieler) - Klav. u. E-Org. (1 Spieler) - 4 Kopfstucke von Sopranblockfl. * Sho (jap. Mundorgel) * 3 Hohner Melodicas (2 Sopran/1 Alt) * 4 Transistor-Radios (4 Spieler)4 · 4 (auch 2 Engl. Hr.) · 4 · 4 - 4 · 4 (auch Trp. in hoch B) · 4 · 2 - 3 P. S. (4-8 Trgl. · 2 Beck. [hoch] · 2 hg. Beck. [hoch/mittel] · Sizzle-Beck. · 2 Tamt. [mittel/tief] · 4 Bong. · kl. Tr. m. Schnarrsaite · gr. Tr. · 4 Einfell-Tomt. oder Timb. · 2 Metallbl. · Glass-Windchimes · 2 Sandbl. · Bamboo-Woodchimes · 2 Mar. [hoch/mittel] · Peitsche · 2 Ruten · Guero · Flexaton · 1-4 kleine Lotusflöte(n) · starke Transparentpapiere · Seidenpapier) (4 Spieler) - Klav. u. E-Org. (1 Spieler) - 4 Kopfstücke von Sopranblockfl. · Sho (jap. Mundorgel) · 3 Hohner Melodicas (2 Sopran/1 Alt) · 4 Transistor-Radios (4 Spieler).
$30.99
Kleine Elegien
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Hans Werner Henze
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Kleine Elegien
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Schott Music - Digital
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SheetMusicPlus
2 Sopranblfl. · 2 Altblfl. · Tenorblfl. · Bassblfl. - Korn. · Altpos. · Tenorpos. - P. S. (2 hg. Beck. · Tamb.) (1 Spieler) - Zither · Laut...
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2 Sopranblfl. · 2 Altblfl. · Tenorblfl. · Bassblfl. - Korn. · Altpos. · Tenorpos. - P. S. (2 hg. Beck. · Tamb.) (1 Spieler) - Zither · Laute · Hfe. · Org. - Str. (1 · 0 · 1 · 1 · 0) old instruments - SKU: S9.Q3138 For old instruments. Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 17 minutes. Schott Music - Digital #Q3138. Published by Schott Music - Digital (S9.Q3138). „Im Jahre 1966 schrieb ich die Musik zu Volker Schlöndorffs erstem Film ‚Der junge Törless‘. Ich dachte mir, der Klang der alten, frühen Instrumente, die ich wählte, könnte als Metapher für das frühe Unausge-reifte, nahezu kindlich Jugendhafte und Gefährdete der Protagonisten der Musilschen Novelle verstanden werden. Später richtete ich einige Stücke aus der Musik für Streichsextett ein und machte auch eine Streichorchester-Version davon. Im Jahre 1985 fielen mir zufällig die Stimmen der Filmmusik in die Hän-de. Die Partitur allerdings schien unauffindbar zu sein. Da ich aber gerne diese Musik den Renaissance-Instrumenten wieder zugänglich machen wollte, stellte ich eine neue Partitur her: Ich brachte die existie-renden Stimmen hinein, fühlte mich dann aber veranlasst, neue Stimmen dazu zu erfinden und in den al-ten Zusammenhang zu setzen.
$19.99
Ich wandte mich und sah an alles Unrecht, das geschah unter der Sonne
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Bernd Alois Zimmermann
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3 im Saal) * 1 - P
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Ich wandte mich und sah an all
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Schott Music - Digital
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SheetMusicPlus
2 speakers, bass-solo and orchestra - SKU: S9.Q2711 Ekklesiastische Aktion. Composed by Bernd Alois Zimmermann. This edition: study score. Music ...
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2 speakers, bass-solo and orchestra - SKU: S9.Q2711 Ekklesiastische Aktion. Composed by Bernd Alois Zimmermann. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 35 minutes. Schott Music - Digital #Q2711. Published by Schott Music - Digital (S9.Q2711). German • English.3 (alle auch Picc., 3. auch Altfl.) * 3 (3. auch Engl. Hr.) * 3 * 3 - 5 * 3 * 6 (3 im Orchester; 3 im Saal) * 1 - P. S. (ant. Zimb. * 3 hg. Beck. * 3 Gongs * 2 Tamt. * gr. Tr. * 3 Holztr. * 3 gr. Kuhgl. * Rohrengl. * hg. Holzbalken * Guiro * Mar. * Schuttelrohr * Pappe * Zeitungspapier * Hammer und Nagel * Xyl. * Vibr. * Marimba) (4 Spieler) - E-Git. * Hfe. - Str.3 (alle auch Picc., 3. auch Altfl.) · 3 (3. auch Engl. Hr.) · 3 · 3 - 5 · 3 · 6 (3 im Orchester; 3 im Saal) · 1 - P. S. (ant. Zimb. · 3 hg. Beck. · 3 Gongs · 2 Tamt. · gr. Tr. · 3 Holztr. · 3 gr. Kuhgl. · Röhrengl. · hg. Holzbalken · Guiro · Mar. · Schüttelrohr · Pappe · Zeitungspapier · Hammer und Nägel · Xyl. · Vibr. · Marimba) (4 Spieler) - E-Git. · Hfe. - Str.
$28.99
4. Sinfonie
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Hans Werner Henze
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4. Sinfonie
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Schott Music - Digital
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SheetMusicPlus
Picc. · 2 · 2 · Engl. Hr. · 2 · Bassklar. · 2 · Kfg. - 4 · 3 · 2 · 1 - P. S. (Trgl. · hg. Beck. · Glsp. · Vibr.) (3 Spiel...
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Picc. · 2 · 2 · Engl. Hr. · 2 · Bassklar. · 2 · Kfg. - 4 · 3 · 2 · 1 - P. S. (Trgl. · hg. Beck. · Glsp. · Vibr.) (3 Spieler) - Hfe. · Cel. · Klav. - Str. large orchestra - SKU: S9.Q2406 In one movement. Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 20 minutes. Schott Music - Digital #Q2406. Published by Schott Music - Digital (S9.Q2406). In der ersten Niederschrift meiner Oper König Hirsch (1953-1956) bestand der Schluss des zweiten Akts aus einem mythischen Gespräch zwischen dem Protagonisten und der Natur. Heinz von Cramer und ich nannten dies Die Waldsymphonie. In der Tat enthält dieser Abschnitt alle formalen Kennzeichen einer Symphonie, es gibt eine Einleitung, einen Sontatensatz, ein liedhaftes Adagio, ein Scherzo mit Trio und eine Finale mit Rondeelementen. Es ist auf dem Theater nie oder doch nur fragmentarisch gegeben worden. Bei der neuen (Il Re Cervo genannten) Fassung die ich 1962 schrieb, wurde diese Waldsymphonie ganz ausgeklammert, und ich schrieb sie zu einem reinen Orchesterstück um. Die thematische Arbeit der Komposition ließ es leicht erscheinen, die vokalen Partien in instrumentale zu verwandeln, dies folgerte Änderungen in der Instrumentation, verschiedene Umgruppierungen in den Farben, kurz alles was nötig war, um die Musik für den Konzertsaal herzurichten. Obwohl Zäsuren zwischen den einzelnen Abschnitten bestehen und deutlich zu hören sind, und obwohl jeder seine eigene Struktur, sein eigenes thematisches Leben hat, ließ ich es bei den fließenden Übergängen des Originaltextes bewenden, so dass das Werk in einem Satz, ohne Unterbrechung abläuft. - Hans Werner Henze.
$23.99
Symphonie du Jaguar
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Thierry Pecou
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II: Crot
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Symphonie du Jaguar
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Schott Music - Digital
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SheetMusicPlus
Clarinet, trombone, violin, cello, 5 female voices and orchestra - SKU: S9.Q42371 For clarinet, trombone, violin, violoncello, 5 female voices and or...
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Clarinet, trombone, violin, cello, 5 female voices and orchestra - SKU: S9.Q42371 For clarinet, trombone, violin, violoncello, 5 female voices and orchestra. Composed by Thierry Pecou. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 39' 0. Schott Music - Digital #Q42371. Published by Schott Music - Digital (S9.Q42371). French.Thierry Pécou lässt die untergegangenen Kulturen der Maya und Azteken in einer symphonisch-vokalen Musiksprache wieder auferstehen. Der geschmeidige Jaguar repräsentierte in den vorkolumbianischen Welten nicht nur die Macht des Königs, er symbolisierte auch den nächtlichen Lauf der Sonne durch die todgeweihte Unterwelt.3 (3. auch Picc.) · 3 (3. auch Engl. Hr.) · 3 (3. auch Bassklar.) · 3 (3. auch Kfg.) - 4 · 3 (3. auch Piccolotrp. in B) · 3 · 1 - P. S. (I: Crot. · Beck. [crash] · hg. chin. Beck. · Tamt. · Bong. · Tomt. · gr. Tr. · chin. Bl. · Holzbl. · Cencerros; II: Crot. · Plattengl. · hg. Beck. · chin. Beck. · Gongs · thai. Gong · Tamt. · Tamt. [groß] · Bong. · Cong. · Tumba · gr. Tr. · Metal Chimes · Teponatzli [hoch]; III: P. · Crot. · geschlagene Beck. · chin. Beck. · gr. Nietenbeck. · thai. Gong · Tamt. · 2 Rahmentr. · gr. Tr. · Teponatzli [mittel]) (3 Spieler) - Str. (16 · 14 · 10 · 8 · 6).
$39.99
Tristan und Isolde
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Classique
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Richard Wagner
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Tristan und Isolde
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Schott Music - Digital
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SheetMusicPlus
3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl...
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3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl. Hr. · 6 Hr. · 3 Trp. · 3 Pos. - SKU: S9.Q17773 Handlung in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 270' 0. Schott Music - Digital #Q17773. Published by Schott Music - Digital (S9.Q17773). German.An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages (German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. TRISTAN UND ISOLDE Performance directions by the singer Ludwig Schnorr von Carolsfeld are incorporated in the vocal score from the Complete Edition’s Tristan und Isolde volume. He entered these directions into his own copy of the Tristan part which he used at the 1865 Munich premiere. Richard Wagner was deeply impressed by his interpretation of the title role. For the first time in a vocal score of Tristan und Isolde all cuts are incorporated—with the corresponding transitional bars—which Wagner himself made, and approved, in two cases, were actually declared by him to be final. These cuts strikingly document Wagner’s struggle with the final form of the work. For the first time in a single edition all of Wagner’s own suggestions for ossias are found; ossias which evolved from performances under his own direction. Egon Voss writes about this in his foreword to the vocal score: “Such ‘pointers’, as you might say, were current practice in the 19th century which Wagner, as the example shows, did not evade. He was enough of a practical man of the theatre to know that a badly sung top note is worse than doing without it. Wagner even tolerated the transposition of lengthier passages because he was less concerned with the letter of the score than with theatrical effectiveness. [...] The present vocal score goes beyond the Complete Edition [...] in that the ossias mentioned above are indicated in the vocal part itself, in small notes. They concern principally the role of Tristan, but also those of Isolde, Brangäne and Kurwenal. They rest in part on the Tristan edition within the Complete Edition but for the greater part go back to a source which could not be consulted for the Complete Edition because it was not yet accessible. This relates to a vocal score from the estate of the composer Peter Cornelius who was engaged by Wagner as repetiteur at the Vienna rehearsals in 1861-63. That the ossia bars go back to Wagner can be taken as certain, since in some places they are notated in his own hand.†(Egon Voss, quoted from the foreword to the vocal score) The transpositions mentioned by Egon Voss—two by Hans von Bülow for the revival of the work which he conducted in Munich in 1869 and the third suggested by Wagner himself in 1861—are printed in the appendix to the vocal score. The ossias, transpositions, and cuts are available for practical use in the theatre and in rehearsal. The cuts are also incorporated into the orchestral materials for Tristan und Isolde. This is also the case with ossias which affect the orchestral parts.2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Götterdämmerung Die Meistersinger von Nürnberg Parsifal.
$47.99
Slide Opposites
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J
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Slide Opposites
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J. Randolph Hall
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SheetMusicPlus
Voice - Level 1 - Interactive Download SKU: A0.1041382 Composed by J. Randolph Hall. This edition: Interactive Download. Classical,Pop,Video Game,World. ...
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Voice - Level 1 - Interactive Download SKU: A0.1041382 Composed by J. Randolph Hall. This edition: Interactive Download. Classical,Pop,Video Game,World. Score. 4 pages. Duration 68. J. Randolph Hall #pJQBGCbFUOE5m6CmBK9mc. Published by J. Randolph Hall (A0.1041382). Key: C major.For continued study in musical angle degrees: θ=15n/2. Let θ (theta) be the angle degree and n be the number of semitone intervals between the two notes in question. Sliding upward yields a positive number and downwards yields a negative. See also https://www.noteflight.com/marketplace/1avadoxR8tmLGLdIp5O4rA/musical-angles Section A shows divergence. Section B shows convergence. Section C provides other examples.
$4.00
"La Revoltosa" for Brass Band
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studying and performing La Rev
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R
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Pablo Guerrero-MartÃn
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"La Revoltosa" for B
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Pablo Guerrero-MartÃn
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SheetMusicPlus
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,Per...
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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 4 - SKU: A0.1403273 Composed by R. ChapÃ. Arranged by Pablo Guerrero-MartÃn. 20th Century,Folk,Multicultural,Opera,Romantic Period,World. Brass Band. 154 pages. Pablo Guerrero-MartÃn #986462. Published by Pablo Guerrero-MartÃn (A0.1403273). La Revoltosa for Brass BandContact the arranger on: pabloguerreromartin@gmail.com Delve into the rich tapestry of Spanish musical tradition with our arrangement of La Revoltosa for brass band. Originally composed by Ruperto ChapÃ, La Revoltosa is a quintessential example of the zarzuela genre, a uniquely Spanish form of musical theater. Set in the lively streets of Madrid, the zarzuela captures the essence of Spanish culture and society in the late 19th century.Our arrangement for brass band offers a unique opportunity to explore this important work within the context of brass instrumentation. Through careful transcription and adaptation, we aim to preserve the integrity of ChapÃ's original composition while highlighting the distinctive timbres and capabilities of brass instruments.By studying and performing La Revoltosa in a brass band setting, musicians have the chance to deepen their understanding of Spanish music and broaden their repertoire. From the spirited melodies to the intricate rhythms, this arrangement provides a fascinating glimpse into the cultural heritage of Spain and the zarzuela tradition.Discover the beauty and complexity of La Revoltosa with our brass band arrangement, and embark on a musical journey through the streets of Madrid.
$49.99
Aimez-Vous Vivaldi?
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Jerome Naulais
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Aimez-Vous Vivaldi?
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FLEX Editions - Digital Sheet Music
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SheetMusicPlus
Chamber Music & Piano Accompaniment Flute, Piano - Grade 4 - SKU: FX.FX072523 Composed by Jerome Naulais. Original Composition. Classical, Educational. ...
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Chamber Music & Piano Accompaniment Flute, Piano - Grade 4 - SKU: FX.FX072523 Composed by Jerome Naulais. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions - Digital Sheet Music #FX072523. Published by FLEX Editions - Digital Sheet Music (FX.FX072523). I wanted to build a Medley of this brilliant composer that was Vivaldi, on a version a bit more Rock'n Roll! The player will find a particular interest in studying this piece to assert her/his instrumental technique. - Jerome Naulais ; A perfect Piece for exams or auditions - for musicians with 6 years of instrument practice ; Instruments: 1 Flute 1 Piano; Difficuly Level: Grade 4; Duration: 6 minutes 10 seconds; Musical Style: Classical, Educational; Category: Original Composition; Composer: Jerome Naulais;.
$9.95
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Study nº1