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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
Hora No. 2
Non classifié
190
Piano & claviers
Piano seul
38
Orgue
21
Piano Facile
7
Piano, Voix
4
Piano, Voix et Guitare
4
Instruments en Do
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Trio: piano, violon, violoncelle
1
2 Pianos, 4 mains
1
Accompagnement Piano
1
1 Piano, 4 mains
1
+ 7 instrumentations
Retracter
Guitares
Banjo
2
Ligne De Mélodie, (Paroles) et Accords
2
4 Guitares (Quatuor)
1
Guitare (partie séparée)
1
Voix
Chorale SATB
532
Chorale 2 parties
298
Chorale 3 parties
227
Chorale TTBB
91
Chorale Unison
60
Pack Instrumental pour Chorale
54
Chorale SSAA
52
Chorale
6
Voix duo, Piano
3
Chorale SSAATTBB
2
Voix Baryton, Piano
1
Chorale SSATBB
1
+ 7 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
11
Quintette de Saxophone: 5 saxophones
10
Saxophone (partie séparée)
7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
2 Saxophones (duo)
5
3 Saxophones (trio)
5
Clarinette et Piano
5
Quatuor de Clarinettes: 4 clarinettes
5
Hautbois, Piano (duo)
5
Flûte, Hautbois, Clarinette, Basson
4
Flute (partie séparée)
4
Flûte traversière et Piano
4
3 Clarinettes (trio)
3
Saxophone Alto et Piano
3
Saxophone Soprano et Piano
3
Quatuor de Flûtes : 4 flûtes
3
Trio de Flûtes: 3 flûtes
2
Clarinette (partie séparée)
2
Ensemble de Clarinettes
2
2 Flûte à bec (duo)
2
Flûte, Hautbois, Clarinette (trio)
2
Quintette de Flûte : 5 flûtes
2
Flûte, Clarinette, Cor, Basson (Quartet)
1
Quintette de Clarinettes: 5 clarinettes
1
2 Clarinettes (duo)
1
Saxophone Tenor et Piano
1
Ensemble de Hautbois
1
Ensemble de Flûtes
1
Clarinette
1
Harmonica
1
Cor anglais, Piano
1
Quatuor de Flûtes à bec
1
Flûte, Clarinette (duo)
1
Ensemble de saxophones
1
Clarinette, Basson (duo)
1
3 Flûtes à bec (trio)
1
+ 31 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
36
Quatuor de cuivres: 4 trombones
16
Quatuor de Cuivres : 2 trompettes, trombone, tuba
9
Trombone (partie séparée)
8
Quatuor de Cuivres
5
Trompette (partie séparée)
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Cor et Piano
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Trompette, Piano
3
Quatuor de cuivres: 4 trompettes
2
Euphonium, Piano (duo)
2
Trio de Cuivres
2
3 Trombones (trio)
1
3 Cors (trio)
1
2 Trompettes (duo)
1
3 Tubas (trio)
1
Trombone et Piano
1
Tuba (partie séparée)
1
Quatuor de cuivres: 4 cors
1
2 Trombones (duo)
1
2 Tubas (duo)
1
Cor anglais, Piano
1
4 Tubas
1
Cor (partie séparée)
1
2 Euphoniums et 2 Tubas
1
Trompette, Cor (duo)
1
Ensemble de Trombones
1
Trompette
1
2 Cors (duo)
1
Trompette, Trombone (duo)
1
Cor, Orchestre
1
+ 27 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
45
Violoncelle
5
Violon et Piano
4
Alto, Piano
3
Contrebasse (partie séparée)
3
Violoncelle, Piano
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Trio à Cordes: violon, alto, violoncelle
2
Trio à Cordes: 2 violons, violoncelle
1
2 Violons (duo)
1
2 Altos (duo)
1
Trio à Cordes: 3 violoncelles
1
2 Violoncelles (duo)
1
Quatuor à cordes: 4 violons
1
Violon (partie séparée)
1
Harpe
1
+ 11 instrumentations
Retracter
Orchestre & Percussions
Orchestre
28
Orchestre d'harmonie
10
Ensemble de cuivres
8
Orchestre à Cordes
8
Cloches
6
Piano et Orchestre
5
Instrumentation Flexible
1
Orchestre de chambre
1
Ensemble Jazz
1
Batterie (partie séparée)
1
Jazz combo
1
+ 6 instrumentations
Retracter
Autres
Formation musicale - Solfège
3
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Instruments
ACCORDEON
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BASSE
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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
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PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
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UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
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MARIAGE - AMOUR - BA…
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Vous avez sélectionné:
Hora No. 2
Orchestre d'harmonie
Partitions à imprimer
10 partitions trouvées
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1
Alleluia No. 1 For Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Kyle McKinzey
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Alleluia No. 1 For Band
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KyleMac Music
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.998275 Composed by Kyle McKinzey. Romantic Period. Score and parts. 116 pages. KyleMac Music #5774885. Published by Kyl...
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Concert Band - Level 4 - SKU: A0.998275 Composed by Kyle McKinzey. Romantic Period. Score and parts. 116 pages. KyleMac Music #5774885. Published by KyleMac Music (A0.998275). ALLELUIA! FOR BAND (Grade 4) - This is a band arrangement of an original choral piece. It has a glorious opening statement that will grab your audience and your performers. A beautiful flowing middle section will envelop them and bring a sense of calm. The piece finishes with a restatement of the intro with an even bigger finish. ​WOODWINDS - Fl(2), Ob(2), Bsn(2), Clar(3), Alto Cl, BC, Contra, AS(2), Ts, Bs.BRASS - Tr(3), Hn(4), Tb(2), Bass Tb. Eu, Tu.PERCUSSION- Bells, Xylo, Vibes, Chimes, SD, BD, Cymbals, Gong, Triangle, Tambourine, Mark tree
$40.00
Finale from Brahms's Symphony No. 1: (wp) E-flat Tuba B.C.
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Orchestre d'harmonie
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Classique
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Johannes Brahms
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Mark Williams
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Finale from Brahms's Symphony
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - SKU: AX.00-PC-0001399_WPTBEBC (wp) E-flat Tuba B.C.. Composed by Johannes Brahms. Arranged by Mark Williams. Classical. World Part...
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Concert Band - SKU: AX.00-PC-0001399_WPTBEBC (wp) E-flat Tuba B.C.. Composed by Johannes Brahms. Arranged by Mark Williams. Classical. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0001399_wpTBEBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001399_WPTBEBC). UPC: 038081322384.This easy arrangement from one of the most popular symphonies of all time remains remarkably faithful to the spirit of the original. Starting with a rousing cut-time intro, it moves through a beautiful chorale section to the famous lyric theme, which leads to its ultimate conclusion in a return of the opening music. A great introduction to the works of Brahms. (2:00) Correlated with Accent on Achievement, Book 2, page 28.Concert/Contest.
$3.00
Finale from Brahms's Symphony No. 1: (wp) E-flat Tuba T.C.
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Orchestre d'harmonie
#
Classique
#
Johannes Brahms
#
Mark Williams
#
Finale from Brahms's Symphony
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Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Concert Band - SKU: AX.00-PC-0001399_WPTBETC (wp) E-flat Tuba T.C.. Composed by Johannes Brahms. Arranged by Mark Williams. Classical. World Part...
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Concert Band - SKU: AX.00-PC-0001399_WPTBETC (wp) E-flat Tuba T.C.. Composed by Johannes Brahms. Arranged by Mark Williams. Classical. World Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0001399_wpTBETC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001399_WPTBETC). UPC: 038081322384.This easy arrangement from one of the most popular symphonies of all time remains remarkably faithful to the spirit of the original. Starting with a rousing cut-time intro, it moves through a beautiful chorale section to the famous lyric theme, which leads to its ultimate conclusion in a return of the opening music. A great introduction to the works of Brahms. (2:00) Correlated with Accent on Achievement, Book 2, page 28.Concert/Contest.
$3.00
It Is Well With My Soul
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Orchestre d'harmonie
#
FACILE
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Musique Sacrée
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Phillip P
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Dana Usealman
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It Is Well With My Soul
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Dana Usealman
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.897950 Composed by Phillip P. Bliss. Arranged by Dana Usealman. Christian,Praise & Worship,Spiritual. Score and parts. ...
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Concert Band - Level 2 - SKU: A0.897950 Composed by Phillip P. Bliss. Arranged by Dana Usealman. Christian,Praise & Worship,Spiritual. Score and parts. 20 pages. Dana Usealman #3861451. Published by Dana Usealman (A0.897950). It Well With My Soul for small Concert Band. Includes score and parts: Flute, Clarinet, Alto Sax 1, Alto Sax 2, Bb Trumpet, Trombone (or Baritone), Mallets, Bass Drum, and Cymbals. When I arranged this, I only had early elementary clarinet players so that part is entirely written below the break. It can be taken up an octave for more advanced players. There is a flute solo for your best flute player, it could also be omitted if necessary. The mallet part could also be omitted in a pinch. It Is Well With My Soul is a hymn penned by hymnist Horatio Spafford and composed by Philip Bliss. First published in Gospel Songs No. 2 by Ira Sankey and Bliss (1876), it is possibly the most influential and enduring in the Bliss repertoire and is often taken as a choral model, appearing in hymnals of a wide variety of Christian fellowships. Horatio Spafford's original lyrics are included below. I had verses 1, 2, 3, and 6 in mind for this arrangement: When peace like a river, attendeth my way,When sorrows like sea billows roll;Whatever my lot, Thou hast taught me to knowIt is well, it is well, with my soul.RefrainIt is well, (it is well),With my soul, (with my soul)It is well, it is well, with my soul.Though Satan should buffet, though trials should come,Let this blest assurance control,That Christ has regarded my helpless estate,And hath shed His own blood for my soul.My sin, oh, the bliss of this glorious thought!My sin, not in part but the whole,Is nailed to the cross, and I bear it no more,Praise the Lord, praise the Lord, O my soul!For me, be it Christ, be it Christ hence to live:If Jordan above me shall roll,No pang shall be mine, for in death as in life,Thou wilt whisper Thy peace to my soul.But Lord, 'tis for Thee, for Thy coming we wait,The sky, not the grave, is our goal;Oh, trump of the angel! Oh, voice of the Lord!Blessed hope, blessed rest of my soul.And Lord, haste the day when the faith shall be sight,The clouds be rolled back as a scroll;The trump shall resound, and the Lord shall descend,A song in the night, oh my soul!
$14.99
Mussorgsky: Night on Bald Mountain for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
#
Classique
#
Modest Petrovich Mussorgsky
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James M
#
Mussorgsky: Night on Bald Moun
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549957 Composed by Modest Petrovich Mussorgsky. Arranged by James M. Guthrie. Halloween,Instructional,Romantic Period,S...
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Concert Band - Level 3 - SKU: A0.549957 Composed by Modest Petrovich Mussorgsky. Arranged by James M. Guthrie. Halloween,Instructional,Romantic Period,Standards. 234 pages. Jmsgu3 #4348907. Published by jmsgu3 (A0.549957). Scored with optional parts to accommodate most concert bands. 1 Piccolo, 2 Flutes, 2 Oboes, 2 Bb Clarinets, 2 Bass Clarinets, 2 Eb Alto Saxes, 2 Bb Tenor Saxes, 2 Eb Baritone Saxes, 2 Bb Trumpets, 2 F Horns, Trombone/Euphonium/Bassoon 1 & 2 part, 2 Tubas, Mallets: (marimba), Chimes, Percussion 1: snare drum, crash cymbals, suspended cymbal, gong & triangle, Percussion 2: Bass Drum, crash cymbals, gong, Can be performed by a small band with one on a part, no percussion, no piccolo.Mussorgsky's Night on Bald Mountain is significant for several reasons. Composed in 1867, it is a tone poem inspired by the Russian legend of nocturnal revels on St. John's Night, involving a witches' Sabbath on Bald Mountain near Kiev. The piece is known for its high drama, dark textures, and bold harmonies, which Mussorgsky's colleagues considered excitingly expressive and raw. The work was unpublished and unrevised at the time of the composer's death, and his colleagues, including Rimsky-Korsakov, later revised it. The composition remains a powerful representation of Russian folk tradition. It is associated with the pagan festivities of the midsummer Slavic holiday, making it a significant piece in the history of Russian classical music.The legend of the nocturnal revels on St. John's Night in June on a hill called Lysa Hora near Kiev is a prominent Slavic tale that inspired Modest Mussorgsky's Night on Bald Mountain. The legend tells of a demon, Chernobog, who leads the revels until a far-off church bell sounds disperse the Spirits of Darkness. This tale is associated with the pagan festivities of the midsummer Slavic holiday and is a significant part of Russian folklore and culture. Lysa Hora, meaning Bald Mountain or Barren Mountain, is a large wooded hill in the Ukrainian capital Kyiv, near the confluence of the Dnipro and Lybid' rivers, and is the traditional site of the witch gatherings in Slavic folklore. The legend's themes of darkness, supernatural gatherings, and the triumph of light have made it a compelling source of inspiration for various artistic works, including Mussorgsky's musical composition.
$49.95
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Orchestre d'harmonie
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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
#
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
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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
America's Favorite Christmas Carols - Wind Instruments
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Orchestre d'harmonie
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FACILE
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Musique Sacrée
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Various
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Colin Kirkpatrick
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America's Favorite Christmas C
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Colin Kirkpatrick Publications
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.522188 Composed by Various. Arranged by Colin Kirkpatrick. Christian,Christmas,Praise & Worship. Score and parts. 190 p...
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Concert Band - Level 2 - SKU: A0.522188 Composed by Various. Arranged by Colin Kirkpatrick. Christian,Christmas,Praise & Worship. Score and parts. 190 pages. Colin Kirkpatrick Publications #6403623. Published by Colin Kirkpatrick Publications (A0.522188). This essential collection may be all you ever need for your wind instruments at Christmas. It's a bargain price too! These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. The publication consists of a four-staff score in concert pitch together with fifteen separate parts in various transpositions plus a simplified optional keyboard part. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. These four-part arrangements use flexible instrumentation so that you can exercise considerable control over the instrumental voicing or use them for non-standard ensembles. You can also create interesting instrumental tone color by omitting groups of instruments. If the ensemble is large enough you could omit brass instruments in the quieter sections, or use a solo trumpet against a woodwind background. There are endless possibilities.The complete set includes: Part 1 in B flat, E flat and C; Part 2 in B flat, E flat and C; Part 3 in B flat, E flat, F and C and Part 4 in B flat, E flat and C. Parts 1 and 2 in C have been printed an octave higher than the pitch shown in the score because invariably the parts lie too low for flute or oboe. For elementary players, a Part 1 in C (low) is included at concert (score) pitch. Parts 3 and 4 in C are in the bass clef. The arrangements could be played by virtually any combination of conventional wind band instruments. Using the optional keyboard part they could also be used as solos, duets or trios. The scores and all the parts are contained in a single 190-page PDF file. Please note that these arrangements are not necessarily compatible with other Kirkpatrick arrangements published by Glyn Joseph Editions. The collection incuers the following favorite carols: Angels We Have Heard On High (Gloria); Lo, How a Rose E’er blooming (Es ist ein Ros entsprungen); O Come, O Come Emmanuel (Veni Emmanuel); The First Noel; Ding Dong! Merrily on High (Bransle de l’Officiel); O Come All Ye Faithful (Adeste Fidelis); Hark! The Herald Angels Sing (Mendelssohn); Go Tell It on the Mountain; O Little Town of Bethlehem (St. Louis); O Holy Night (Cantique de Noël); Silent Night (Stille Nacht); Away in a Manger (Mueller); Joy to the World (Antioch); O Christmas Tree (Tannenbaum); We Three Kings (Kings of Orient); I Heard the Bells on Christmas Day (Waltham); What Child is This? (Greensleeves); God Rest You Merry, Gentlemen; Good King Wenceslas (Tempus Adest Floridum) and We Wish You a Merry Christmas.
$19.99
Tightrope
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Janelle Monae
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Jeffrey Bowen
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Tightrope
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Music Arrangement Services Inc.
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.675463 By Janelle Monae. By Antwan Patton, Charles Joseph, Janelle Robinson, and Nathaniel Irvin. Arranged by Jeffrey B...
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Concert Band - Level 4 - SKU: A0.675463 By Janelle Monae. By Antwan Patton, Charles Joseph, Janelle Robinson, and Nathaniel Irvin. Arranged by Jeffrey Bowen. Contest,Festival,Pop. Score and parts. 43 pages. Music Arrangement Services Inc. #284413. Published by Music Arrangement Services Inc. (A0.675463). Recorded by Janelle Monae. This Concert Band Score accompanies the SSA/Piano Score with parts for 2 Trumpets, Trombone, Alto Sax, Tenor Sax, Baritone Sax, Synth, Guitar, Bass, Drums and Percussion. This SSA arrangement features choral harmonies, horns/winds and a solo feature. Song refers to no matter what people say or do, whether you succeed or fail, you need to stand strong and balance like you are on a tightrope. This arrangement is designed for high school or college show choir, concert choir or community choir. SSA/Piano Score also available. Performance time is approximately 2:20.
$49.99
Beati Quorum Via
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Orchestre d'harmonie
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FACILE
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Charles Villiers Stanford
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David Hawkins
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Beati Quorum Via
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David Hawkins
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.939467 Composed by Charles Villiers Stanford. Arranged by David Hawkins. Romantic Period,Sacred. Score and parts. 30 pa...
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Concert Band - Level 2 - SKU: A0.939467 Composed by Charles Villiers Stanford. Arranged by David Hawkins. Romantic Period,Sacred. Score and parts. 30 pages. David Hawkins #3035299. Published by David Hawkins (A0.939467). This transcription of a Latin motet would work well as a warmup. The notes are easy but the lines are hard. This encourages listening between sections. As a 6-part motet, every part is doubled by another part of the band.Sir Charles Villiers Stanford (30 September 1852 – 29 March 1924) was an Irish composer, music teacher, and conductor. He composed a substantial number of concert works, including seven symphonies, but his best-remembered pieces are his choral works for church performance, chiefly composed in the Anglican tradition. Beati quorum via (Blessed are those whose way), Op. 38, No. 3, is a motet for mixed unaccompanied six-part choir by Charles Villiers Stanford, a setting of the first verse of Psalm 119 in Latin. It is the last of Stanford's Three Latin Motets, published in 1905.Stanford composed it at the end of the 19th century when he was a teacher at the Royal College of Music in London. Paul J. Rodmell wrote in his review of R. J. Stowe's book Stanford education: his finest unaccompanied motets, such as Beati quorum via, attain neo-Brucknerian sublimity, comparing Stanford's work to that of Hubert Parry and Anton Bruckner.
$49.99
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