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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
Church Baroque
Non classifié
534
Piano & claviers
Orgue
103
Piano seul
65
Piano, Voix
35
Orgue, Trompette (duo)
5
Piano Quatuor: piano, violon, alto, violoncelle
5
Accompagnement Piano
5
Clavecin
4
Piano Trio: piano, violon, violoncelle
4
Orgue, Piano (duo)
3
Piano Facile
2
1 Piano, 4 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Fake Book
1
+ 8 instrumentations
Retracter
Guitares
Piano, Guitare (duo)
5
Guitare
4
Guitare notes et tablatures
3
4 Guitares (Quatuor)
1
3 Guitares (trio)
1
Voix
Chorale SATB
55
Chorale 3 parties
15
Chorale 2 parties
12
Voix duo, Piano
9
Voix seule
3
Chorale TTBB
2
Chorale Unison
1
Voix Soprano, Piano
1
Voix haute
1
+ 4 instrumentations
Retracter
Vents
Quintette de Saxophone: 5 saxophones
50
Quatuor de Saxophones: 4 saxophones
38
Flûte traversière et Piano
35
Clarinette et Piano
30
Hautbois, Piano (duo)
29
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
28
Flûte, Hautbois, Clarinette, Basson
27
Ensemble de saxophones
23
Saxophone Alto et Piano
21
Ensemble de Clarinettes
20
Quatuor de Clarinettes: 4 clarinettes
20
Saxophone Tenor et Piano
19
2 Saxophones (duo)
18
Saxophone Soprano et Piano
17
2 Flûtes traversières (duo)
16
3 Saxophones (trio)
16
Saxophone Baryton, Piano
15
Ensemble de Flûtes
14
Quintette de Flûte : 5 flûtes
13
Flûte, Clarinette (duo)
12
Cor anglais, Piano
10
Trio de Flûtes: 3 flûtes
9
Quatuor de Flûtes : 4 flûtes
8
Clarinette Basse, Piano
7
Flûte, Clarinette et Basson
6
2 Clarinettes (duo)
6
Flûte, Hautbois, Clarinette (trio)
6
Flûte, Violoncelle
5
Quintette de Clarinettes: 5 clarinettes
5
3 Clarinettes (trio)
4
Clarinette
4
2 Hautbois (duo)
3
Flûte et Guitare
3
2 Flûte à bec (duo)
3
Hautbois, Clarinette (duo)
3
Flûte, Violon et Violoncelle
3
Clarinette, Harpe (duo)
3
Flûte, Clarinette, Piano (trio)
3
Flûte, Violon
3
Hautbois, Harpe
3
Flute, Cor (duo)
2
Flûte, Trombone (duo)
2
Clarinette, Violon (duo)
2
Clarinette, Basson (duo)
2
4 Hautbois
2
Flûte, Violoncelle, Piano (trio)
2
Flûte à bec Soprano
2
Hautbois, Violoncelle
2
Saxophone Alto
2
Flûte, Hautbois, Basson
2
Flûte, Hautbois (duo)
2
Flûte, Violoncelle, Guitare
2
Flûte, Saxophone (duo)
2
Quatuor de Flûtes à bec
2
Clarinette, Violoncelle, Piano (trio)
2
Flûte, Alto (duo)
2
Flûte, Hautbois, Piano (trio)
2
Piccolo, Piano
2
2 Flûtes traversières, Piano
2
Hautbois, Flûte
1
Hautbois, Clarinette et Piano (Trio)
1
Flûte, Trompette (duo)
1
Flûte à bec Alto
1
Flûte traversière
1
Flûte, Violon, Guitare
1
Flûte, Hautbois, Violon
1
Ensemble de Hautbois
1
Flûte, Basson et Piano
1
Clarinette, trompette et piano
1
Hautbois (partie séparée)
1
Flûte traversière, Orgue (duo)
1
3 Flûtes à bec (trio)
1
Flûte, Violon, Piano
1
Flûte à Bec
1
Hautbois, Basson (duo)
1
Flûte, Alto et Piano
1
Flûte à bec Tenor
1
Flûte et Trio à cordes
1
+ 73 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
39
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
37
Ensemble de Trompettes
34
Trompette, Piano
27
Trombone et Piano
23
Ensemble de Trombones
18
Trompette
15
Euphonium, Piano (duo)
15
Cor et Piano
13
Trompette (partie séparée)
10
Cor anglais, Piano
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Quatuor de cuivres: 4 trompettes
7
Quatuor de cuivres: 4 trombones
7
Trompette, Trombone (duo)
5
Tuba et Piano
4
2 Trombones (duo)
4
2 Trompettes (duo)
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
2 Cors (duo)
3
Ensemble de Cors
3
Quatuor de cuivres: 4 cors
3
3 Trompettes (trio)
2
Quatuor de Cuivres
2
4 Tubas
2
Trompette, Cor (duo)
2
2 Tubas (duo)
1
3 Trombones (trio)
1
Tuba et Orgue
1
Trombone
1
4 Euphoniums
1
Trombone, Orgue
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Cor, Violoncelle et Piano
1
2 Euphoniums et 2 Tubas
1
3 Tubas (trio)
1
Trombone, Cor (duo)
1
3 Cors (trio)
1
Trompette, Trombone, Piano
1
2 Trompettes, Clavier (piano ou orgue)
1
+ 35 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
62
Violon, Violoncelle (duo)
36
Violoncelle, Piano
29
Trio à Cordes: violon, alto, violoncelle
29
Violon et Piano
27
Alto, Piano
26
Violon
21
Ensemble d'Altos
13
Ensemble de Violons
12
2 Violons (duo)
10
4 Violoncelles
8
Harpe
8
Quatuor à cordes: 4 violons
7
Trio à Cordes: 2 violons, violoncelle
6
Violon, Alto (duo)
6
Contrebasse, Piano (duo)
5
Trio à Cordes: 3 violoncelles
4
2 Altos (duo)
4
2 Violoncelles (duo)
4
Trio à cordes: 3 violins
4
Violoncelle
3
Harpe, Violon (duo)
3
Harpe, Flûte (duo)
3
Quatuor à cordes : 4 altos
3
2 Harpes (duo)
2
Violon, Orgue
2
Trio à cordes: 3 altos
2
Violoncelle , Guitare (duo)
2
Piano Trio: Violon, Alto, Piano
2
Alto, Violoncelle (duo)
1
Violon (partie séparée)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
2 Violons, Piano
1
Alto seul
1
Ensemble de Violoncelles
1
Trio à Cordes: 2 violons, alto
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Violoncelle, Orgue
1
+ 33 instrumentations
Retracter
Orchestre & Percussions
Ensemble de cuivres
49
Orchestre à Cordes
19
Orchestre de chambre
17
Orchestre d'harmonie
8
Cloches
8
Orchestre
5
Xylophone, Piano
2
Ensemble de Percussions
1
+ 3 instrumentations
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Autres
Instruments
ACCORDEON
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BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
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VIELLE A RO…
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VIOLON
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
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
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Vous avez sélectionné:
Church Baroque
Orchestre d'harmonie
Partitions à imprimer
8 partitions trouvées
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1
Krebs Trio
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Stephen R Dalrymple
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Krebs Trio
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Stephen R Dalrymple
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.818295 By Stephen R Dalrymple. By Johann Ludwig Krebs. Arranged by Stephen R Dalrymple (Dalrymple Designs). Baroque. Sc...
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Concert Band - Level 3 - SKU: A0.818295 By Stephen R Dalrymple. By Johann Ludwig Krebs. Arranged by Stephen R Dalrymple (Dalrymple Designs). Baroque. Score and parts. 14 pages. Stephen R Dalrymple #5030197. Published by Stephen R Dalrymple (A0.818295). Krebs Trio ♫ for Concert Band with Flexible Instrumentation ♫ by Johann Ludwig Krebs (1713-1780) ♫ arranged by Stephen R Dalrymple ♫ Johann Krebs was the son of a well-known organist. Krebs studied organ and composition with JS Bach and was highly commended by him. He was one of the most technically gifted young organists of his day, yet was never employed by a major church. Krebs held modest positions all of his life and he and his family of seven children struggled with poverty. ♫ Although underpaid according to his ability and training, Krebs produced a large body of work – 193 known scores. His compositions are judged to be of prime quality, superior enough for scholars to argue whether a piece was composed by him or Bach. His Toccata and Fugue in E for organ is counted one of the masterpieces in Baroque literature. His 2 concertos for lute show that he must have been an accomplished lute player. Krebs was born, studied, lived, & composed in or near Upper Saxony (much like Bach). ♫ Teaching band in a small school, I often needed flexible instrumentation to assure satisfaction for students when a full complement of instruments was not available. This Baroque work from pipe organ literature has been scored for 3 independent polyphonic voices plus an optional percussion part. This piece can be played with almost any combination of instruments or as a trio or quartet. I added an optional hand drum part so percussionists can also participate. Krebs Trio has been performed by my mid level band and a quintet of music educators at a school music benefit concert, and the fanfa at North Haiti Music Camp. ♫ Purchase price includes permission is granted to make photocopies of parts additional scores for a medium size school band.
$18.00
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Orchestre d'harmonie
#
INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
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Orchestre d'harmonie
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FACILE
#
Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #345...
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Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
#
Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
Sinfonia Venezia - Pasquale Anfossi (1727 - 1797) - Primo Tempo (First part)
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Pasquale Anfossi
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Fabrizio Brezzo
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Sinfonia Venezia - Pasquale An
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Fabrizio Brezzo
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.896391 Composed by Pasquale Anfossi (Taggia 1727 - Rome 1797). Arranged by Fabrizio Brezzo. Baroque. Score and parts. 1...
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Concert Band - Level 3 - SKU: A0.896391 Composed by Pasquale Anfossi (Taggia 1727 - Rome 1797). Arranged by Fabrizio Brezzo. Baroque. Score and parts. 19 pages. Fabrizio Brezzo #4633087. Published by Fabrizio Brezzo (A0.896391). Pasquale Anfossi (5 April 1727 – February 1797) was an Italian opera composer. Born in Taggia, Liguria, he studied with Niccolò Piccinni and Antonio Sacchini, and worked mainly in London, Venice and Rome.He wrote more than 80 operas, both opera seria and opera buffa, although he concentrated on church music, especially oratorios, during his last years. Anfossi died in Rome in 1797.As an operatic composer, Anfossi remained forgotten for a long time, despite his great popularity with his contemporaries, because his works were overshadowed by those of Salieri, Rossini and Mozart. Nevertheless, Johann Wolfgang von Goethe staged Anfossi's farsetta La maga Circe (Circe, the Sorceress) in his role as the theatre director of Weimar. He adapted the libretto with Christian August Vulpius and also made plans for a continuation, which never came to bear.Only in the last 20 years has Anfossi's work been appreciated anew, through diverse productions such as Giuseppe riconosciuto. His work was featured at the 2005 Salzburg Summer Festival.Fabrizio Brezzo, this arranger, lives in Taggia, the town where Anfossi was born.In the second half of this symphony, you can hear the theme that Mozart used, 9 years later, for his Confutatis maledictis of the requiem mass.
$8.50
Sinfonia from Cantate 156
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Orchestre d'harmonie
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FACILE
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Classique
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Johann Sebastian Bach
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Yves Bouillot
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Sinfonia from Cantate 156
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Yves Bouillot
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.931767 Composed by Johann Sebastian Bach. Arranged by Yves Bouillot. Baroque. Score and parts. 29 pages. Yves Bouillot ...
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Concert Band - Level 2 - SKU: A0.931767 Composed by Johann Sebastian Bach. Arranged by Yves Bouillot. Baroque. Score and parts. 29 pages. Yves Bouillot #6862369. Published by Yves Bouillot (A0.931767). This very famous opening piece of cantata 156 by J.S. Bach is here arranged for a wind orchestra. This music will sound beautiful in a resonating church or venue. The arrangement is very lyrical and will give maximum emotions to the public.
$15.00
Once to Every Man
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Orchestre d'harmonie
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FACILE
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T
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Leandro Bizama
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Once to Every Man
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Leandro Bizama Music
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.933694 Composed by T. J. Williams, J. S. Bach. Arranged by Leandro Bizama. Baroque,Christian,Concert,Sacred. Score and ...
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Concert Band - Level 2 - SKU: A0.933694 Composed by T. J. Williams, J. S. Bach. Arranged by Leandro Bizama. Baroque,Christian,Concert,Sacred. Score and parts. 93 pages. Leandro Bizama Music #3420423. Published by Leandro Bizama Music (A0.933694). A dramatic juxtaposition of the hymn Once to Every Man and Nation with excerpts from the Prelude in C minor by Bach's renown The Well Tempered Clavier. The pipe organ part, which is just as playable on a synthesizer as a real pipe organ, quotes straight from Bach's hand to add to the power of the hymn. With accessible writing but an impressive ensemble sound, this can be an exciting piece in your next program. Suitable for High School, advanced Middle School ensembles, church or community wind ensembles, Once to Every Man introduces the famous writings of Bach's keyboard works to the modern avenue of Concert Band. And just like Bach did in his prelude, this arrangement reaches a stirring finale in the major key, and will quickly be loved by audiences and performers alike.For more info about the arranger visit www.leandrobizama.com
$30.00
Mouvement symphonique
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Orchestre d'harmonie
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AVANCÉ
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Stephan Adam
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Mouvement symphonique
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Schott Music - Digital
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SheetMusicPlus
Wind band - difficult - SKU: S9.Q20959 Composed by Stephan Adam. This edition: score. Schott Harmony Series. Downloadable, score. Duration 12 minutes. S...
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Wind band - difficult - SKU: S9.Q20959 Composed by Stephan Adam. This edition: score. Schott Harmony Series. Downloadable, score. Duration 12 minutes. Schott Music - Digital #Q20959. Published by Schott Music - Digital (S9.Q20959). Using thematic-motif material and Baroque concerto structures, Stephan Adam has created a contemporary work with new sounds without being avant-garde. The work is demanding, particularly as regards technique and rhythmic complexity. This work was commissioned by the Bundesvereinigung Deutscher Blasmusikverbände [Federation of German Wind Music Organisations] and has been a set piece in competitions at the most advanced level. Stephan Adam studied Church Music and Composition in Frankfurt am Main; Kurt Hessenberg was one of his teachers. He has been teaching since 1982 at the Berufsfachschule für Musik [Further Education College of Music] in Bad Königshofen.(1 Piccolo-Flöte, 2 Flöten, 2 Oboen, 2 Fagotte, 1 Klarinette in Es, 3 Klarinetten in B, 1 Bass-Klarinette in b, 2 Alt-Saxophone in Es, 2 Tenor-Saxophone in B (2. ad lib.), 1 Bariton-Saxophon in Es, 4 Hörner in F, 4 Trompeten in B, 3 Posaunen, 2 Flügelhörner in B, 2 Tenorhörner in B, 1 Bariton, 2 Tuben, 1 Kontrabass, Pauken, Schlagzeug: Glockenspiel, Xylophon, kleine Trommel, 3 Tomtoms, große Trommel, 2 Tempelblocks, Triangel, hängendes Becken, Beckenpaar, Tam-Tam tief, Röhrenglocken).
$55.99
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