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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
VIOLON
VIOLONCELLE
XYLOPHONE
Des'ree
Non classifié
222
Piano & claviers
Piano seul
463
Accordéon
36
Piano, Voix
25
Orgue
18
Piano Trio: piano, violon, violoncelle
7
Instruments en Do
4
2 Pianos, 4 mains
4
1 Piano, 4 mains
2
Piano, Voix et Guitare
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Clavecin
1
Orgue, Trompette (duo)
1
Accompagnement Piano
1
+ 8 instrumentations
Retracter
Guitares
Guitare
72
Basse electrique
54
Guitare notes et tablatures
5
Mandoline
1
Ensemble de guitares
1
Orchestre à Plectres
1
Ligne De Mélodie, (Paroles) et Accords
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
33
Voix Soprano, Piano
9
Chorale TTBB
4
Voix Alto, Piano
3
Chorale SSAA
2
Chorale SSAATTBB
2
Chorale 3 parties
2
Voix seule
2
Voix Tenor, Piano
1
Voix Tenor
1
Voix Baryton, Piano
1
Soli, choeur mixte et accompagnement
1
+ 7 instrumentations
Retracter
Vents
Saxophone
255
Clarinette
128
Flûte traversière
94
Quatuor de Saxophones: 4 saxophones
18
2 Flûtes traversières (duo)
13
Flûte traversière et Piano
13
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
10
Hautbois (partie séparée)
10
3 Clarinettes (trio)
9
Quatuor de Clarinettes: 4 clarinettes
9
Flûte, Hautbois, Clarinette, Basson
8
Hautbois
6
Hautbois, Piano (duo)
6
Flûte à Bec
6
Saxophone Alto et Piano
6
Clarinette et Piano
5
Hautbois, Clarinette, Basson (trio d'anches)
4
Trio de Flûtes: 3 flûtes
4
Saxophone Soprano et Piano
3
Saxophone Tenor
3
Ensemble de Clarinettes
3
Flûte, Clarinette, Piano (trio)
3
Ensemble de Flûtes
2
Saxophone Alto
2
Clarinette, Violon (duo)
2
3 Saxophones (trio)
1
Flûte, Violon, Piano
1
Flûte et Guitare
1
Flûte, Violon
1
Flûte, Hautbois, Piano (trio)
1
Saxophone et Orgue
1
Quatuor de Flûtes : 4 flûtes
1
Flûte à bec Alto, Piano
1
Ensemble de saxophones
1
Quatuor de Flûtes à bec
1
Saxophone Soprano
1
Flûte à bec Soprano
1
Saxophone Tenor et Piano
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
+ 34 instrumentations
Retracter
Cuivres
Trombone
96
Trompette
89
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
13
Trombone et Piano
11
Tuba et Piano
7
Ensemble de Trombones
7
Euphonium, Piano (duo)
6
Tuba
6
Trombone basse
6
Quatuor de Cuivres : 2 trompettes, trombone, tuba
6
Cor
5
Quatuor de Cuivres
4
Cor et Piano
3
Trompette, Piano
2
Quatuor de cuivres: 4 trombones
2
Euphonium
2
Quatuor de cuivres: 4 cors
1
2 Tubas (duo)
1
3 Trombones (trio)
1
2 Trombones (duo)
1
3 Euphoniums
1
Ensemble de Cors
1
Trombone basse et Piano
1
Trombone et orchestre
1
2 Euphoniums et 2 Tubas
1
+ 20 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
146
Violon
115
Violoncelle
65
Alto seul
40
Violon et Piano
23
Harpe
10
Trio à Cordes: violon, alto, violoncelle
10
Alto, Piano
9
Violoncelle, Piano
8
Trio à cordes: 3 violins
8
2 Violons (duo)
7
Trio à Cordes: 3 violoncelles
4
Violon, Guitare (duo)
3
Harpe, Flûte (duo)
3
Violon, Violoncelle (duo)
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Trio à Cordes: 2 violons, violoncelle
2
2 Violoncelles (duo)
2
Violon, Alto (duo)
1
Violon, Clarinette, Piano (trio)
1
Contre Basse
1
Contrebasse, Piano (duo)
1
Harpe, Violon (duo)
1
Piano Trio: Violon, Alto, Piano
1
4 Harpes
1
+ 20 instrumentations
Retracter
Orchestre & Percussions
Batterie
88
Orchestre
57
Orchestre à Cordes
52
Orchestre d'harmonie
26
Orchestre de chambre
14
Ensemble de cuivres
13
Jazz combo
8
Ensemble de Percussions
6
Ensemble Jazz
5
Cloches
2
Fanfare
2
Piano et Orchestre
1
Orchestre, Violon
1
+ 8 instrumentations
Retracter
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GUITARE PED…
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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
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
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AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
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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
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Ensemble de Percussions
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Street Beats for Percussion Quartet
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.882386 Composed by David C…
(+)
Percussion Ensemble - Level 5 - Digital Download SKU: A0.882386 Composed by David Chesky. Contemporary,Jazz. Score and parts. 207 pages. Pamaluc Music #18591. Published by Pamaluc Music (A0.882386). A highly energized work for percussion quartet that uses the rhythms of the streets of New York. Latin, Hip hop, jazz collides with modern 21st century harmony. Duration 12:00 min Percussion Quartet.
$14.98
13.81 €
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Ensemble de Percussions
#
David Chesky
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Street Beats for Percussion Quartet
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Pamaluc Music
#
SheetMusicPlus
Four Forces (First movement) I. Strong Forces
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvado…
(+)
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pages. Salvador Rojo-Gamon #5801913. Published by Salvador Rojo-Gamon (A0.962406). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$300.00
276.57 €
#
Ensemble de Percussions
#
Salvador Rojo Gamón
#
Four Forces
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Salvador Rojo-Gamon
#
SheetMusicPlus
Four Forces (Second movement) II. Weak Forces
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvado…
(+)
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pages. Salvador Rojo-Gamon #5801921. Published by Salvador Rojo-Gamon (A0.962405). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$150.00
138.29 €
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Ensemble de Percussions
#
Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
#
SheetMusicPlus
Two Dreams for solo Trombone and 8-part Percussion Ensemble
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.811252 Composed by Antonio…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.811252 Composed by Antonio J. Garcia. Contemporary,Jazz,Latin,World. Score and parts. 119 pages. Gordon Cherry #6549777. Published by Gordon Cherry (A0.811252). Two Dreams for Trombone and Percussion EnsembleDr. Justin Alexander (Director, VCU Percussion Ensemble) invited me to create a piece for trombone and percussion ensemble that had roles for more- and less-experienced players so that they could mix within the performance. I so enjoyed composing and performing this work. He estimates the overall difficulty grade of Movement I to be a three on a five-point scale and Movement II to be a four, with a grade four for the overall piece; but some players’ parts (within the eight total in the percussion ensemble) are indeed easier.The two Movements are approximately five minutes each.The first Movement Bilita Mpash (An Amazing Dream) calls for (1) shekeré/guiro; (2) 5-octave marimba (shared with...); (3) 5-octave marimba (shared with previous); (4) claves/drum set with mounted cowbell; (5) bell/mounted cowbell/congas; (6) hi-hat/suspended cymbal; (7) bass drum; and (8) four toms/maracas.The Second Movement (Running with the Tigers) calls for (1) xylophone; (2) vibraphone/glockenspiel; (3) 5-octave marimba; (4) drum set; (5) shaker/samba whistle/congas (opt. voice); (6) triangle/bell tree/hanging bells/agogo bells (opt. voice); (7) bass drum (opt. voice); and (8) Timpani (opt. voice). Pending difficulty levels, the conga and drum set parts can optionally be split among additional percussionists. The score notes offer a stage plot and many rehearsal tips.Bilita Mpash (An Amazing Dream)The 3-2 Rumba Clave anchors this movement, launched by the shekeré. Rhythmic vamps of multiple bars form the landscape over which the trombone’s melody emerges, followed by a move to double-time 2-3 Rumba Clave (with montuno) and back. The trombone soloist improvises without chordal accompaniment for a while so could reflect on the preceding harmonies or instead freely improvise with no concern as to chord changes, while a later section requires improv over chord changes. After the recap, a surprise tag of the ending phrase in Cha Cha sets up the rubato finish. Bilita Mpash (BILL-it-uh m-POSH) is a Bantu term for an amazing dream, a dream so good that it is the polar opposite of a nightmare-a dream in a blissful state where all is forgiven and forgotten2. Running with the TigersThe opening, written-out marimba solo is somewhat of a nod to vibist Gary Burton’s influence in bringing mallets towards the expression of modern jazz. A 9/8 samba-groove (5+4) transforms to 4/4. None of the percussionists have to have a jazz background, though the drum set player would be more challenged if not already exposed to Latin drumming. The improvised solo section could be all solo trombone or could be divided among various performers, including trading. The recap of the tune begins over 5/8 samba (3+2, later 2+3). The closing arrhythmic drum-set solo crescendos as the optional surprise of percussionists’ (or additional) voices sing at the end. The title of this movement refers to a recurring dream my dad would have, as well as to the active movements of my grandson when sleeping in his earliest years.-Antonio J. GarcÃaInstrumentation is for:Solo Trombone and 8-part Percussion Ensemble:shekeré/guiro, 2 5-octave marimbas, claves/drumset with cowbell, bell, congas, hi-hat, suspended cymbal, bass drum, toms, maracas, xylophone, vibraphone, glockenspiel, shaker, samba whistle, congas, triangle, bell tree, hanging bells, agogo bells, bass drum and timpani.This rhythmic and dramatic work includes improvisation by the Trombonist. Listen to the brilliant live performance featuring Mr. Garcia and the Virginia Commonwealth University Percussion Ensemble directed by Dr. Justin Alexander.
$50.00
46.1 €
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Ensemble de Percussions
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Antonio J
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Two Dreams for solo Trombone and 8-part Percussion Ensemble
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Gordon Cherry
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SheetMusicPlus
Alexandriana for Percussion Ensemble
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.937755 Composed by Dan Hes…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.937755 Composed by Dan Heslink. Contemporary,World. Score and parts. 128 pages. Pharaoh Publications #5983475. Published by Pharaoh Publications (A0.937755). Alexandriana for percussion ensemble (12 performers) by Dan Heslink The term Alexandriana is popularly used to reference the Great Library of antiquity in Alexandria, Egypt. Rooted in Alexander the Great’s global military and exploratory exploits (334 - 323 BCE), the library symbolizes the ancient Greek ever expanding worldview, especially under the influence of Alexander and his tutor, Aristotle. Alexander died long before construction of the Ancient Museum and Library of Alexandria, but the concept of a universal library was uniquely his. The mixing of Hellenistic columns with Egyptian architecture and the housing of thousands of scrolls in Greek, Turkish, Babylonian, Egyptian and Hebrew, intensify the division of the library broadly into two large sections, one for eastern knowledge and one for western knowledge. In this musical score, typically western is the thematic concept (expressed most clearly in the chimes), the tonal, triadic-based harmony and sectional concept of form. The music’s sectional nature parallels the library’s different rooms, each containing their own genre of knowledge (history, mathematics, poetry, etc.) Evocative of eastern musical practices are the simultaneous layers of different rhythmic subdivisions, oriental modes, and florid lines in the xylophone and vibe parts. In this score, eastern musical procedures are expressed with instruments commonly found in the Western orchestra or wind band. The performers are encouraged to always emphasize the score’s contrasts. Passages for indefinitely pitched percussion featuring the song within the drums contrast with other passages of purely quantitative rhythm. Complexity in the interaction of parts contrast with simple rhythmic unison. Passages of thick harmony contrast with modal monophonic melodies accompanied only by indefinitely pitched sounds. Overall, there is a wide dynamic range. During long passages of gradually accruing energy, take care to not build dynamics too quickly, and during fortissimo passages, drums should be stroked in a manner that avoids excessive aggression. The rhythmic background of 16th notes must be consistent among all players so that interlocking rhythmic motifs are consistent. Often the tom-toms have melodic passages that imitate the shape of mallet or timpani melodies. Tune the drums for a warm, round sound and select mallets accordingly. Bar percussion players should apply a flowing legato to their passage work. Soft sections are intended to sound mysterious: be sure to use mallets that match that character. The composer assigns a performance level of difficult to this work. Performance time is 9:15. The composer, Dan Heslink, can be reached at dan@dheslink.com.
$9.99
9.21 €
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Ensemble de Percussions
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Dan Heslink
#
#
Alexandriana for Percussion Ensemble
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Pharaoh Publications
#
SheetMusicPlus
Metasound
Ensemble de Percussions
Percussion Ensemble - Level 5 - Digital Download SKU: A0.1002845 Composed by Panayi…
(+)
Percussion Ensemble - Level 5 - Digital Download SKU: A0.1002845 Composed by Panayiotis Kokoras. Contemporary. Score and parts. 33 pages. Panayiotis Kokoras #2023573. Published by Panayiotis Kokoras (A0.1002845). The full score includes detailed performance notes. Upon you purchase you will receive free performance material including parts, video, audio and text performance notes, tape audio, click track, etc. for full audio, program notes and score preview please visit: www.panayiotiskokoras.com/en/works.html.
$4.99
4.6 €
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Ensemble de Percussions
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Panayiotis Kokoras
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Metasound
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Panayiotis Kokoras
#
SheetMusicPlus
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