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TRI ET FILTRES

Tri et filtres :

avec audio

avec vidéo

avec play-along

Non classifié 65

PIANO & CLAVIERS

Piano, Voix 17 Piano seul 16 Piano Facile 3 Instruments en Do 2 1 Piano, 4 mains 2

Orgue 1 Piano, Voix et Guitare 1 Clavecin 1

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GUITARES

Guitare 20 Ukulele 9 Guitare notes et tablatures 6 Mandoline 1 Ensemble de guitares 1

Banjo 1

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VOIX

Chorale SATB 6

VENTS

Hautbois, Piano (duo) 8 Quatuor de Saxophones: 4 saxophones 8 Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 5 Quintette de Saxophone: 5 saxophones 4 Flûte, Hautbois, Clarinette, Basson 4

Flûte et Guitare 3 Hautbois (partie séparée) 2 2 Clarinettes (duo) 1 Flûte traversière 1 Saxophone (partie séparée) 1 2 Flûtes traversières (duo) 1 Ensemble de Clarinettes 1 Flute (partie séparée) 1

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CUIVRES

Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 7 Trio de Cuivres 4 Trombone (partie séparée) 3 Trompette 2 2 Trompettes (duo) 1

CORDES

Quatuor à cordes: 2 violons, alto, violoncelle 14 Quintette à cordes: 2 violons, alto, violoncelle, basse 8 Violoncelle 2 Violon (partie séparée) 2 Alto (partie séparée) 1

2 Violons (duo) 1 Contrebasse, Piano (duo) 1 Violoncelle , Guitare (duo) 1 Contrebasse (partie séparée) 1

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PERCUSSIONS & ORCHESTRES

Orchestre d'harmonie 11 Orchestre 5 Marimba 2 Ensemble Jazz 2 Orchestre de chambre 1

Percussion (partie séparée) 1 Orchestre à Cordes 1 Caisse Claire 1 Ensemble de cuivres 1

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AUTRES

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e Modern classical

Chorale SATB

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6 partitions trouvées

Joy to the World

Chorale SATB

Composed by I. Watts / G.F. Handel. Arranged by Robert E. Proctor. Contemporary Classical,…(+)

Composed by I. Watts / G.F. Handel. Arranged by Robert E. Proctor. Contemporary Classical, Modern, Christian, General Worship, Christmas. Piano Reduction, Score. 14 pages. Published by R. E. Proctor (S0.170097). - Piano Reduction,Score - Contemporary Classical,Modern,Christian,General Worship,Christmas - R. E. Proctor

$4.95 4.54 € #Chorale SATB #I #Robert E #Joy to the World #R. E. Proctor #SheetMusicPlus

Three Latin Elegies to Lesbia

Chorale SATB

Choir, SATB - Intermediate - Digital Download Composed by Mark D. Templeton. 21st Cen…(+)

Choir, SATB - Intermediate - Digital Download Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 pages. Published by Mark Templeton Choral Music
Three LatinElegies to Lesbiais a setting of three poems written by the ancient Roman poet, Gaius ValeriusCatullus (84-54 B.C.E.). His muse in these poems is understood to beLesbia, the name believed to have been given by Catullus to his mistress.Lesbia was really Clodia, the sexually promiscuous wife of proconsul QuintusCaecilius Metellus Celer. Clodia was said to have many lovers, and Catullus’torment and obsession for her is well documented in 13 of his poems where thename, Lesbia, is used. His first poem addressed to Lesbia (Catullus 51) is a freetranslation of a poem by the ancient Greek poet, Sappho. Scholars havesuggested that Catullus chose the name, Lesbia, because of his affinity forSappho, who it is believed was a lesbian. Odie et Amo (Catullus 85), one of the mostcelebrated elegiac couplets composed by Catullus, has inspired many composers withits duality of emotions. The most well-known setting is from Carl Orff’s Catulli Carmina, part of Trionfi, themusical triptych that also includes the Carmina Burana andTrionfo di Afrodite. Unlike Orff’s driving rhythms of outwardlyexpressive anguish, my setting is a more introspective interpretation. It is asif the music is surrendering to the mercurial personalities that Catullus andall humans possess, the tortured ability to hate and love at the same time. Lesbia mi dicit semper male (Catullus 92) consists of two elegiaccouplets. Catullus’ earlier poem, 83,brings some context to 92. In thefirst part of 83, Catullus says: Lesbia keeps insulting me in front of her husband: thisfills the fatuous idiot with delight. Mule, doyou perceive nothing? If she shut up and ignored me that’dshow healthy indifference;… In 92, Catullus expounds on the idea of whyLesbia insults him in front of her husband. Catullus reckons that he is alwayscursing her, and he loves her. She always curses him, so she must love him aswell. In his desperation, Catullus uses his wit and humor to reason that hisobsessive love for Lesbia is reciprocated. This setting of 92 uses incessant driving rhythms in the women’s voices to paint thewords, “Lesbia mi dicit semper male nec tacetumquam de me” (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythmsreturn in the men’s voices when Catullus says he does the same, “quia sunt totidem mea: deprecor illamassidue” (…it’s the same with me: I’m continually complaining.) The piececomes to a final rest after Catullus realizes the he will always be cursed tolove her. Mea Lesbia (Catullus 87) also consists of twoelegiac couplets. Catullus was only one of Lesbia’s many lovers, and he oftenwrote of his jealousy and disdain for her unfaithful actions. This elegy waswritten at a time when Lesbia had been particularly cruel toward Catullus.Despite being broken hearted, his obsession with her never waned. In hisdespair and desperation, he basically says, “My love for you is so great thatno other woman could possibly even know what love is.” This setting of 87 returns to a more introspectivenature where Catullus surrenders his love forever to Lesbia.Three LatinElegies to Lesbiais a setting of three poems written by the ancient Roman poet, Gaius ValeriusCatullus (84-54 B.C.E.). His muse in these poems is understood to beLesbia, the name believed to have been given by Catullus to his mistress.Lesbia was really Clodia, the sexually promiscuous wife of proconsul QuintusCaecilius Metellus Celer. Clodia was said to have many lovers, and Catullus’torment and obsession for her is well documented in 13 of his poems where thename, Lesbia, is used. His first poem addressed to Lesbia (Catullus 51) is a freetranslation of a poem by the ancient Greek poet, Sappho. Scholars havesuggested that Catullus chose the name, Lesbia, because of his affinity forSappho, who it is believed was a lesbian. Odie et Amo (Catullus 85), one of the mostcelebrated elegiac couplets composed by Catullus, has inspired many composers withits duality of emotions. The most well-known setting is from Carl Orff’s Catulli Carmina, part of Trionfi, themusical triptych that also includes the Carmina Burana andTrionfo di Afrodite. Unlike Orff’s driving rhythms of outwardlyexpressive anguish, my setting is a more introspective interpretation. It is asif the music is surrendering to the mercurial personalities that Catullus andall humans possess, the tortured ability to hate and love at the same time. Lesbia mi dicit semper male (Catullus 92) consists of two elegiaccouplets. Catullus’ earlier poem, 83,brings some context to 92. In thefirst part of 83, Catullus says: Lesbia keeps insulting me in front of her husband: thisfills the fatuous idiot with delight. Mule, doyou perceive nothing? If she shut up and ignored me that’dshow healthy indifference;… In 92, Catullus expounds on the idea of whyLesbia insults him in front of her husband. Catullus reckons that he is alwayscursing her, and he loves her. She always curses him, so she must love him aswell. In his desperation, Catullus uses his wit and humor to reason that hisobsessive love for Lesbia is reciprocated. This setting of 92 uses incessant driving rhythms in the women’s voices to paint thewords, “Lesbia mi dicit semper male nec tacetumquam de me” (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythmsreturn in the men’s voices when Catullus says he does the same, “quia sunt totidem mea: deprecor illamassidue” (…it’s the same with me: I’m continually complaining.) The piececomes to a final rest after Catullus realizes the he will always be cursed tolove her. Mea Lesbia (Catullus 87) also consists of twoelegiac couplets. Catullus was only one of Lesbia’s many lovers, and he oftenwrote of his jealousy and disdain for her unfaithful actions. This elegy waswritten at a time when Lesbia had been particularly cruel toward Catullus.Despite being broken hearted, his obsession with her never waned. In hisdespair and desperation, he basically says, “My love for you is so great thatno other woman could possibly even know what love is.” This setting of 87 returns to a more introspectivenature where Catullus surrenders his love forever to Lesbia.

$4.99 4.57 € #Chorale SATB #Mark D #Three Latin Elegies to Lesbia #Mark Templeton Choral Music #SheetMusicPlus

Praiseworthy

Chorale SATB

SATB, Full Orchestra - Early Intermediate - Digital Download Composed by Robert E. …(+)

SATB, Full Orchestra - Early Intermediate - Digital Download Composed by Robert E. Proctor. Contemporary Classical, Modern, Christian, General Worship. Score, Set of Parts. 125 pages. Published by R. E. Proctor

$39.95 36.6 € #Chorale SATB #Robert E #Praiseworthy #R. E. Proctor #SheetMusicPlus

Anim Zemiros

Chorale SATB

Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909…(+)

Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.

$3.00 2.75 € #Chorale SATB #Stanley M Hoffman #Stanley M Hoffman #Anim Zemiros #stanleymhoffman.com #SheetMusicPlus

PAPYRUS OXY. 1786

Chorale SATB

Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1372416 Composed by…(+)

Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1372416 Composed by Anon. Arranged by Marilena Zlatanou. A Cappella. 6 pages. Marilena Zlatanou #956715. Published by Marilena Zlatanou (A0.1372416). PAPYRUS OXY.1786 Fragment of hymn to the Holy Trinity (end og 3rd cent. AD)Found on papyrus at ancient Oxyrhynchus (Egypt), written in Ancient Greek and in ancient Greek musical notation, transcribed to modern notation and published in Documents of Ancient Greek Music (edited and transcr. by E. PÃ¶hlmann and M.L. West, Clarendon Press/Oxford, 2001).(...All praise through us the Father, the Son and the Holy Ghost...)Â The first 15 bars are written as printed in the above-mentioned publication and simply distributed to the choir voices. The rest is my attempt to incorporate this fragment in an a cappella SATB choir piece, in an effort to combine my knowledge and inspiration of both ancient Greek music and Byzantine hymnography, as well as classical choir writing.Duration: ca 5'' Phonetic transcription in the Latin alphabet is notated right below the original Greek text, English translation, and a key to Greek Pronunciation are provided on the title page.The mp3 file provided is exported from the sibelius fileFor more information on the arranger, (member of TONO, the Norwegian copyright org.), please visit website www.zlatanou.net

$25.00 22.9 € #Chorale SATB #Anon #Marilena Zlatanou #PAPYRUS OXY. 1786 #Marilena Zlatanou #SheetMusicPlus

Offertory

Chorale SATB

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1272763 Composed by Stepha…(+)

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1272763 Composed by Stephanie K. Andrews. 21st Century,Chamber,Classical,Sacred,Traditional. Octavo. 20 pages. Stephanie K Andrews #864958. Published by Stephanie K Andrews (A0.1272763). Written in December of 2020 for Be near me when my light is low, a collaborative Requiem by the composers of Inversion Ensemble (a conductor-composer collaborative based in Austin, Texas), the Offertory movement text is a modern English rendition of the Offertory (â€œDomine Jesu Christeâ€ and â€œHostias et preces tibi, Domineâ€) from the traditional Latin Requiem Mass.Â The Offertory is introduced by a light, flowing sixteenth note pattern in the righthand of the piano that is rhythmically repetitive and meditative. The voices then appear in unison at first, gradually beginning to divide into harmony as the piece progresses until at the word death they fall back into a stark, unaccompanied unison. The Archangel Michael appears in the section that follows, leading the souls of the faithful to eternal light as the music crescendos and moves through an accelerando, ending on a triumphant C major chord on the final repetition of eternal light. A motive of assurance that this light is promised to the faithful for all eternity is presented in E-flat major, a motive that will reappear in the finale of the piece. The flowing sixteenth notes and harmonic shifts of the first section return at Sacrifices and praises we offer you, O Lord. The movement concludes with a fugue in the victorious key of C major, once again offering comfort to Christ's faithful ones through the assurance of heavenly light for all eternity.

$3.50 3.21 € #Chorale SATB #Stephanie K #Offertory #Stephanie K Andrews #SheetMusicPlus