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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
One piece
Non classifié
645
Piano & claviers
Piano seul
367
Orgue
34
Piano, Voix
18
2 Pianos, 4 mains
8
1 Piano, 4 mains
7
Piano, Voix et Guitare
7
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Piano Trio: piano, violon, violoncelle
3
Piano Quatuor: piano, violon, alto, violoncelle
3
Instruments en Do
2
Accompagnement Piano
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Accordéon
1
Clavecin
1
+ 9 instrumentations
Retracter
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Guitare
37
Guitare notes et tablatures
8
2 Guitares (duo)
6
Ukulele
4
Basse electrique
3
Piano, Guitare (duo)
1
4 Guitares (Quatuor)
1
Ensemble de guitares
1
Mandoline, Piano (duo)
1
Dulcimer
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
62
Chorale TTBB
14
Chorale SSAA
6
Chorale SSAATTBB
4
Voix Tenor, Piano
3
Voix Baryton, Piano
3
Voix basse, Piano
3
Chorale 2 parties
2
Chorale 3 parties
2
Voix haute
2
Voix duo, Piano
2
Voix duo
2
Voix Soprano, Piano
1
Voix Baryton
1
Voix moyenne, Piano
1
+ 10 instrumentations
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Vents
Quatuor de Saxophones: 4 saxophones
75
Saxophone Alto et Piano
52
Quintette de Saxophone: 5 saxophones
41
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
40
Flûte traversière et Piano
37
Saxophone
25
Clarinette
25
Clarinette et Piano
22
Saxophone Alto
21
Hautbois, Piano (duo)
21
Flûte, Hautbois, Clarinette, Basson
20
Saxophone Soprano et Piano
19
Quatuor de Clarinettes: 4 clarinettes
18
Saxophone Tenor et Piano
18
Ensemble de saxophones
16
Flûte traversière
14
2 Saxophones (duo)
13
Hautbois (partie séparée)
9
Saxophone (partie séparée)
8
Saxophone Baryton, Piano
8
Ensemble de Clarinettes
8
Quatuor de Flûtes : 4 flûtes
7
3 Saxophones (trio)
5
Ensemble de Flûtes
5
Quintette de Clarinettes: 5 clarinettes
5
3 Clarinettes (trio)
5
Flute (partie séparée)
4
2 Clarinettes (duo)
4
Saxophone Tenor
4
Flûte, Violon, Piano
3
2 Saxophones, Piano
3
2 Flûtes traversières (duo)
3
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3
Flûte à bec Soprano
2
Flûte, Saxophone (duo)
2
Flûte et Guitare
2
Flûte, Hautbois, Piano (trio)
2
Flûte, Violoncelle, Piano (trio)
1
Flûte à bec Alto, Piano
1
Flûte, Clarinette, Piano (trio)
1
Piccolo
1
Flûte, Hautbois, Clarinette (trio)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
2 Hautbois (duo)
1
Hautbois, Basson (duo)
1
Clarinette, Violoncelle (duo)
1
Cor anglais, Piano
1
Saxophone et Orgue
1
Flûte, Violoncelle
1
Hautbois, Basson et Piano
1
Clarinette Basse, Piano
1
Flûte, Trombone (duo)
1
Cor Anglais
1
Clarinette, Basson (duo)
1
Saxophone et Guitare
1
Quatuor de Flûtes à bec
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Saxophone Soprano
1
Flûte, Alto et Piano
1
+ 54 instrumentations
Retracter
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
228
Quatuor de Cuivres : 2 trompettes, trombone, tuba
97
Trombone et Piano
85
Trombone
22
Euphonium, Piano (duo)
20
Tuba et Piano
20
Ensemble de Trombones
18
Quatuor de cuivres: 4 trombones
16
Trompette, Piano
13
Cor et Piano
12
Trompette
10
Cor
9
Quatuor de Cuivres
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Tuba
6
Ensemble de Trompettes
5
2 Cors (duo)
5
2 Trombones (duo)
5
2 Trompettes (duo)
4
Trombone basse et Piano
3
3 Trombones (trio)
3
Ensemble de Cors
3
Trompette, Trombone (duo)
2
4 Tubas
2
Trombone, Orgue
2
Quatuor de cuivres: 4 cors
2
Trombone basse
2
Trombone (partie séparée)
2
2 Euphoniums et 2 Tubas
2
3 Euphoniums
1
Trombone, Tuba (duo)
1
Trombone et orchestre
1
Trompette (partie séparée)
1
Cor anglais, Piano
1
2 Trompettes, Clavier (piano ou orgue)
1
Cor Anglais
1
2 Tubas (duo)
1
Quatuor de cuivres: 4 trompettes
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
+ 34 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
66
Violon et Piano
51
Violoncelle, Piano
37
Alto, Piano
21
Harpe
21
Violoncelle
19
Violon
19
Alto seul
12
Trio à Cordes: violon, alto, violoncelle
7
Violon, Alto (duo)
7
Harpe, Violon (duo)
6
2 Violoncelles (duo)
6
Harpe, Flûte (duo)
6
Violon, Violoncelle (duo)
5
Alto et Harpe
5
Contrebasse, Piano (duo)
5
Contre Basse
5
2 Violons (duo)
4
Violoncelle, Contrebasse (duo)
4
2 Altos (duo)
4
Harpe, Violoncelle (duo)
3
Alto, Violoncelle (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
Violon, Guitare (duo)
2
Trio à Cordes: 2 violons, alto
1
Violon, Orgue
1
Piano Trio: Violon, Alto, Piano
1
4 Harpes
1
Violon, Clarinette, Piano (trio)
1
Alto (partie séparée)
1
Alto, Guitare (duo)
1
Quatuor à cordes : 4 altos
1
4 Violoncelles
1
Ensemble de Violoncelles
1
+ 29 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
158
Ensemble Jazz
126
Orchestre
87
Ensemble de cuivres
44
Orchestre à Cordes
40
Orchestre de chambre
32
Jazz combo
16
Marimba
6
Ensemble de Percussions
5
Cloches
4
Batterie
3
Vibraphone
2
Quintette de Cuivres: autres combinaisons
1
Piano et Orchestre
1
Marimba et Orgue
1
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1
Two Dreams for solo Trombone and 8-part Percussion Ensemble
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Ensemble de Percussions
#
AVANCÉ
#
Antonio J
#
Two Dreams for solo Trombone a
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Gordon Cherry
#
SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.811252 Composed by Antonio J. Garcia. Contemporary,Jazz,Latin,World. Score and parts. 119 pages. Gordon Cherry #...
(+)
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
Gravity for Septet
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Ensemble de Percussions
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AVANCÉ
#
Contemporain
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MohammadHadi Ayanbod
#
Gravity for Septet
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Rimorarte Edition
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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
The Three-Minute Waltz - for mallet keyboard percussion trio
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Ensemble de Percussions
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AVANCÉ
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Classique
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Samuel Stokes
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The Three-Minute Waltz - for m
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SamuelStokesMusic.com
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.562082 Composed by Samuel Stokes. Concert,Contemporary. Score and parts. 16 pages. SamuelStokesMusic.com #519988...
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Percussion Ensemble - Level 5 - SKU: A0.562082 Composed by Samuel Stokes. Concert,Contemporary. Score and parts. 16 pages. SamuelStokesMusic.com #5199889. Published by SamuelStokesMusic.com (A0.562082). This fun and hilarious percussion trio is a show piece for the xylophone player with vibraphone and marimba parts playing an accompaniment role. The piece begins as a very simplistic waltz, but with each successive variation, the tempo increases and the xylophone part gets more and more technically challenging. A great show piece that is certain to keep the audience engaged. Learn more about the composer Samuel Stokes at https://www.SamuelStokesMusic.com
$6.99
The Man Who Laughs
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Ensemble de Percussions
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AVANCÉ
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the end of this section, the a
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Jehad Choate
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The Man Who Laughs
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Jehad Choate
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.1025413 Composed by Jehad Choate. 20th Century,Contemporary,Film/TV. Score and parts. 67 pages. Jehad Choate #47...
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Percussion Ensemble - Level 5 - SKU: A0.1025413 Composed by Jehad Choate. 20th Century,Contemporary,Film/TV. Score and parts. 67 pages. Jehad Choate #4781401. Published by Jehad Choate (A0.1025413). The Man Who Laughs is a musical portrait of Batman’s greatest adversary, the Joker (Detective Comics). This piece draws inspiration from both comic book sources and live-action performances on film and television. It features five continuous sections:One Bad Day: (Page 1) A prelude showcasing a lush melodic theme that ascribes the derangement of a normal man to the dramatic events of one bad day.How I Got These Scars: (Page 10) Introduces additional thematic material at a frantically energized pace to contrive an identity from a mind fragmented by hitting rock bottom.Why So Serious: (Page 17) Punctuates the Joker’s aggressive resolutions with a reoccurring two note motif.A Dance with the Devil: (Page 33) A fleshed-out unity of previous materials in a romantic waltz-like style.Giggling in a Corner and Bleeding: (Page 47) A dynamic and provocative bout of hysteria that challenges the speed and dexterity of a player in the same way the Joker challenges the ideological resolve of Batman. By the end of this section, the audience might feel like they have been attacked by the Joker, influenced by him, or may have actually been the Joker all along.
$10.00
Fanfare for the Uncommon Student
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Ensemble de Percussions
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AVANCÉ
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David Berlin
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font: 12.0px Helvetica
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Fanfare for the Uncommon Stude
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David Berlin
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.958075 Composed by David Berlin. 20th Century,Graduation,Instructional,Standards. Score and parts. 44 pages. Dav...
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Percussion Ensemble - Level 5 - SKU: A0.958075 Composed by David Berlin. 20th Century,Graduation,Instructional,Standards. Score and parts. 44 pages. David Berlin #2988815. Published by David Berlin (A0.958075). P.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica; min-height: 14.0px} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.0px Arial; color: #232323} p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.0px Arial; color: #1255cc} p.p4 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.0px Arial; color: #232323; min-height: 15.0px} span.s1 {text-decoration: underline} In collaboration with the Philadelphia Classical Symphony and director, Karl Middleman and Partners in Distance Learning, a music composition project was launched in 2005 for students in Pennsylvania. I created an instructional web site called HOW TO WRITE A FANFARE. Students from around the state worked through the program and sent us their final projects. The committee selected the best ones submitted and we brought the students and their families to Philadelphia where the Philadelphia Classical Symphony performed their pieces on a public concert. The web site is still on line and the student's pieces can be heard. at: http://tozier.net/dberlin/fanfare/index.htm/ Please feel free to use this website in conjunction with my printed score and recording for yourself, students or your circle of friends. This score and recording was my contribution to the concert. It is 90 seconds long at 120 BPM.
$3.99
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