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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
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Non classifié
637
Piano & claviers
Piano seul
505
Piano, Voix
30
Piano, Voix et Guitare
24
Clavecin
20
1 Piano, 4 mains
16
Instruments en Do
11
Accordéon
9
Orgue
9
2 Pianos, 4 mains
8
Accompagnement Piano
3
2 Pianos, 8 mains
3
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano Trio: piano, violon, violoncelle
2
Orgue, Trompette (duo)
1
+ 9 instrumentations
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Guitares
Guitare
60
Basse electrique
46
Guitare notes et tablatures
37
2 Guitares (duo)
5
Piano, Guitare (duo)
2
Ukulele
1
+ 1 instrumentations
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Voix
Chorale SATB
86
Chorale TTBB
38
Chorale SSAA
16
Chorale 3 parties
7
Voix haute
4
Voix duo, Piano
4
Voix Tenor, Piano
3
Voix Soprano, Piano
3
Voix Baryton, Piano
2
Chorale SSAATTBB
2
Chorale
2
Chorale SSATTB
1
Chorale Unison
1
Chorale 2 parties
1
Voix basse, Piano
1
Voix duo
1
+ 11 instrumentations
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Vents
Saxophone
73
Flûte traversière
48
Clarinette
46
Flûte, Hautbois, Clarinette, Basson
21
Quatuor de Saxophones: 4 saxophones
18
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
18
Flûte traversière et Piano
15
Saxophone Alto
14
Saxophone Tenor
12
Clarinette et Piano
10
Saxophone Alto et Piano
9
Quatuor de Clarinettes: 4 clarinettes
7
Ensemble de Clarinettes
7
Saxophone Soprano et Piano
7
Saxophone Tenor et Piano
6
Hautbois
6
3 Clarinettes (trio)
5
Saxophone Soprano
4
Quatuor de Flûtes : 4 flûtes
4
Quintette de Clarinettes: 5 clarinettes
4
Hautbois, Piano (duo)
4
Clarinette, Violoncelle (duo)
3
Hautbois (partie séparée)
3
Saxophone Baryton, Piano
3
Flûte et Guitare
3
Quintette de Saxophone: 5 saxophones
2
Flute (partie séparée)
2
Clarinette, Violon (duo)
2
Flûte, Violon
2
2 Flûtes traversières (duo)
2
Flûte, Clarinette et Basson
2
Ensemble de saxophones
1
5 Flûtes à bec
1
2 Saxophones, Piano
1
2 Flûtes traversières, Piano
1
Flûte à bec Alto, Piano
1
Piccolo
1
Harmonica
1
Saxophone et Guitare
1
Flûte, Violon, Piano
1
Clarinette Basse, Piano
1
Cor anglais, Piano
1
3 Saxophones (trio)
1
Cor Anglais
1
Flûte, Saxophone (duo)
1
Flûte, Trombone (duo)
1
Flûte, Clarinette, Piano (trio)
1
Quintette de Flûte : 5 flûtes
1
2 Hautbois (duo)
1
Flûte, Violoncelle, Piano (trio)
1
Saxophone (partie séparée)
1
2 Saxophones (duo)
1
Flûte, Clarinette (duo)
1
2 Clarinettes (duo)
1
+ 49 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
159
Trombone et Piano
134
Ensemble de Trombones
86
Euphonium, Piano (duo)
63
Trombone
57
Tuba et Piano
49
Trompette
44
Quatuor de cuivres: 4 trombones
38
Quatuor de Cuivres : 2 trompettes, trombone, tuba
35
Cor et Piano
31
Cor
20
Tuba
20
2 Trombones (duo)
18
Trompette, Piano
14
Trombone basse
12
3 Trombones (trio)
11
Trombone basse et Piano
10
Euphonium
8
2 Trompettes (duo)
7
4 Tubas
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Quatuor de cuivres: 4 cors
5
2 Euphoniums et 2 Tubas
4
Trombone, Orgue
3
Trompette (partie séparée)
3
Trombone, Tuba (duo)
3
3 Euphoniums
3
2 Tubas (duo)
2
Trompette, Trombone (duo)
2
2 Cors (duo)
2
3 Tubas (trio)
2
Trombone et orchestre
1
2 Trompettes, Clavier (piano ou orgue)
1
2 Euphoniums (duo)
1
Quatuor de Cuivres
1
Cor anglais, Piano
1
Cor Anglais
1
Trombone (partie séparée)
1
+ 33 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
86
Violon
42
Violon et Piano
26
Harpe
18
Violon, Violoncelle (duo)
16
Violoncelle
13
Alto seul
12
Violoncelle, Piano
10
Violon, Alto (duo)
9
Alto, Piano
7
Trio à Cordes: violon, alto, violoncelle
6
Contre Basse
3
Alto, Violoncelle (duo)
3
2 Violons (duo)
3
Harpe, Flûte (duo)
3
Trio à Cordes: 2 violons, violoncelle
3
2 Altos (duo)
3
Contrebasse, Piano (duo)
2
Ensemble de Violoncelles
2
2 Harpes (duo)
1
Violon (partie séparée)
1
Trio à Cordes: 2 violons, alto
1
2 Violoncelles (duo)
1
Alto et Harpe
1
Violon, Guitare (duo)
1
+ 20 instrumentations
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Orchestre & Percussions
Jazz combo
365
Orchestre
174
Orchestre d'harmonie
126
Ensemble de cuivres
96
Ensemble Jazz
72
Orchestre à Cordes
35
Orchestre de chambre
18
Batterie
16
Fanfare
8
Ensemble de Percussions
4
Cloches
3
Percussion (partie séparée)
1
Vibraphone
1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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CORNET
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DIDGERIDOO
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Ensemble de Percussions
Partitions à imprimer
4 partitions trouvées
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1
Gravity for Septet
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Ensemble de Percussions
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AVANCÉ
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Contemporain
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MohammadHadi Ayanbod
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Gravity for Septet
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Rimorarte Edition
#
SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.1027778 Composed by MohammadHadi Ayanbod. 20th Century,Contemporary. Score and parts. 25 pages. Rimorarte Editio...
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Percussion Ensemble - Level 5 - SKU: A0.1027778 Composed by MohammadHadi Ayanbod. 20th Century,Contemporary. Score and parts. 25 pages. Rimorarte Edition #5996957. Published by Rimorarte Edition (A0.1027778). In GRAVITY I explored different gravities as forces we not only feel them in every moments of our lives, but also thinking of living without or escaping from them seems impossible. Likewise, those gravities exist in the music, make us feel the music continuous, desirable, logical and an integrated language of art. The exploration of the path from chaos to unity, and from unity to multiplicity, is where the title came from. GRAVITY consists of two main sections. The first section, which shows the fully-grown and flourished musical ecosystem, and the second part; a flashback to just after big-bang, which tries to musicalize the creation of the gravity! In the first section, I’ve used the concept of horizontal and vertical minimalism. At the very beginning of the piece we have a structure that bring the idea of the vertical minimalism out. In every moment, each instrument plays the same note as others. However, the narrative line is divided into different octaves, so, the melody is not the same in spite of the fact that each instrument plays the same tone. This structure also reminds the paradoxical ladder or optical staircase illusion. The narration is built up until it reaches temporal climax. At the same time, this melody starts again from the beginning with some microscopic differences visible vividly to musicians. This semi reciprocating musical narration, could be observed as a musical example of the staircase illusion. After this part, but still in the first section of the music, I’ve used the horizontal (traditional) minimalism idioms to explore the bounding forces present in the music. Although, what interesting here is the creation of synthetic voices which is the result of different amounts of the nuances and different combinations of the sound. For keen ears, it seems like shades of neon lights, penetrate into one another in the scale of time and create a big picture of micro fluctuating objects. In the second section or just after big-bang, I’ve observed and recreate musically, the very moment of creation of the gravity just after the big-bang. Here, we don’t have melody, rhythm, structure, narration and other aspects of the music in the traditional way, although all of them are present in the music. very single sound or noise is meaningful and showing the assemblage process of the forces in the music to create a melody line. I’ve occupied idioms of contemporary Sonorism genre to create the atmosphere. This highly complex texture shows the virtuosity of interpreters and the capability of the instruments in avant-garde literature and extended techniques. The music is concluded by a fast-tempo finale, with the instruction of fortissimo possiblile (as loud as possible). The piece, in fact, will not be finished as a morendo, but, it opens a space for hypothetically living structure; constantly grows, flourishes, shines and decays.
$16.99
Two Dreams for solo Trombone and 8-part Percussion Ensemble
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Ensemble de Percussions
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AVANCÉ
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Antonio J
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Two Dreams for solo Trombone a
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Gordon Cherry
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.811252 Composed by Antonio J. Garcia. Contemporary,Jazz,Latin,World. Score and parts. 119 pages. Gordon Cherry #...
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Percussion Ensemble - Level 5 - 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
Four Forces (First movement) I. Strong Forces
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Ensemble de Percussions
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AVANCÉ
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pa...
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Percussion Ensemble - Level 5 - 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
Four Forces (Second movement) II. Weak Forces
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Ensemble de Percussions
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AVANCÉ
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
#
SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pa...
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Percussion Ensemble - Level 5 - 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
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