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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
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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ASIE
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Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
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SheetMusicPlus
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expert
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Non classifié
2840
PIANO & CLAVIERS
Piano seul
982
Piano, Voix et Guitare
669
Piano, Voix
520
Piano Facile
302
Orgue
79
Instruments en Do
54
Piano Trio: piano, violon, violoncelle
45
2 Pianos, 4 mains
31
Accompagnement Piano
27
1 Piano, 4 mains
25
Piano grosses notes
20
Accordéon
10
Piano Quatuor: piano, violon, alto, violoncelle
10
Piano (partie séparée)
6
Clavier
6
Piano Quatuor: piano, 2 violons, violoncelle
4
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Orgue, Trompette (duo)
3
Clavecin
2
2 Pianos, 8 mains
1
Orgue, Piano (duo)
1
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GUITARES
Ligne De Mélodie, (Paroles) et Accords
141
Guitare
127
Guitare notes et tablatures
106
Paroles et Accords
80
Ukulele
40
Guitare (partie séparée)
32
Basse electrique
14
Banjo
14
2 Guitares (duo)
11
4 Guitares (Quatuor)
8
Mandoline
7
Dulcimer
7
Ensemble de guitares
6
3 Guitares (trio)
4
Mandoline, Guitare (duo)
2
Piano, Guitare (duo)
1
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VOIX
Chorale SATB
1652
Chorale 3 parties
644
Chorale 2 parties
480
Chorale TTBB
404
Chorale
291
Chorale SSAA
178
Chorale Unison
166
Voix Soprano, Piano
22
Voix duo, Piano
15
Chorale SSAATTBB
9
Chorale SSATTB
9
Voix duo
9
Voix moyenne, Piano
7
Voix haute
7
Voix Alto, Piano
7
Voix seule
6
Voix Tenor, Piano
4
Chorale SSATB
4
Voix basse, Piano
2
Voix Tenor
2
Soli, choeur mixte et accompagnement
2
Voix Mezzo-Soprano, Piano
1
Chorale SAATB A Cappella
1
Voix Baryton, Piano
1
Chorale SSAATB
1
Chorale SSAB a cappella
1
Chorale SATTBB A Cappella
1
Instrumentations suivantes
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VENTS
Flûte traversière et Piano
127
Flûte, Hautbois, Clarinette, Basson
107
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
106
Hautbois, Piano (duo)
97
Quatuor de Saxophones: 4 saxophones
92
Clarinette et Piano
86
Clarinette
74
Saxophone (partie séparée)
70
Ensemble de saxophones
68
Saxophone Alto et Piano
62
Quintette de Saxophone: 5 saxophones
61
Saxophone Alto
55
Ensemble de Clarinettes
52
Saxophone Tenor et Piano
50
Quatuor de Clarinettes: 4 clarinettes
49
Flûte traversière
48
Saxophone Soprano et Piano
45
2 Saxophones (duo)
44
Ensemble de Flûtes
44
2 Flûtes traversières (duo)
36
Saxophone Baryton, Piano
33
Flûte à bec Alto
28
Quatuor de Flûtes : 4 flûtes
26
2 Clarinettes (duo)
25
Hautbois
25
Hautbois (partie séparée)
23
3 Saxophones (trio)
22
Flûte à bec Soprano
16
3 Clarinettes (trio)
14
Cor anglais, Piano
14
Clarinette Basse, Piano
13
Quintette de Flûte : 5 flûtes
12
2 Hautbois (duo)
12
Hautbois, Clarinette, Basson (trio d'anches)
11
Flûte, Clarinette (duo)
11
Quintette de Clarinettes: 5 clarinettes
10
Flûte et Guitare
10
Quatuor de Flûtes à bec
9
Saxophone Tenor
9
Saxophone Soprano
9
Flûte, Hautbois, Clarinette (trio)
8
Saxophone, Clarinette (duo)
8
Harmonica
8
Saxophone Baryton
8
Trio de Flûtes: 3 flûtes
6
2 Flûte à bec (duo)
6
Clarinette (partie séparée)
6
Flûte, Violon, Piano
6
Flûte irlandaise
5
Clarinette, Guitare (duo)
5
5 Flûtes à bec
5
Hautbois, Clarinette (duo)
5
Cor Anglais
5
Flûte à bec Alto, Piano
5
Hautbois, Flûte
5
Clarinette, Violon (duo)
5
Flûte, Saxophone (duo)
4
Flute (partie séparée)
4
Flûte, Clarinette et Basson
3
Flûte à bec Tenor
3
Flûte à Bec
3
Clarinette, Harpe (duo)
3
Saxophone
3
Hautbois, Guitare (duo)
3
Hautbois, Basson (duo)
3
Flûte, Trompette (duo)
3
Clarinette et Alto
3
Clarinette, Trompette (duo)
3
Saxophone et Harpe
2
Cor anglais, Guitare (duo)
2
Piccolo, Piano
2
Flûte, Hautbois (duo)
2
Flute, harpe et violon
2
Hautbois, Harpe
2
Flûte à Bec, Piano
2
Instruments en Mib
2
Flûte, Violon
2
Flûte, Basson et Piano
2
Clarinette, Basson, Piano (trio)
1
Flûte, Hautbois, Basson
1
Flûte, Trombone (duo)
1
2 Cors Anglais Et Pianoforte
1
Hautbois, Violon, Piano
1
Hautbois, Basson et Piano
1
Saxophone et Orgue
1
Clarinette, Alto et Piano (trio)
1
Clarinette, Violoncelle, Piano (trio)
1
Clarinette, Basson (duo)
1
2 Saxophones, Piano
1
Flûte à bec Alto, Basse continue
1
Flûte, Violoncelle
1
Ensemble de Hautbois
1
Cor anglais et Harpe (duo)
1
3 Hautbois
1
3 Flûtes à bec (trio)
1
Flûte de Pan
1
4 Hautbois
1
Flûte, Alto et Piano
1
Flûte, Hautbois, Piano (trio)
1
Hautbois et Orchestre
1
Saxophone et Guitare
1
Flûte à bec, Guitare (duo)
1
Clarinette, Trombone (duo)
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
139
Trompette
78
Trombone et Piano
65
Trompette, Piano
64
Cor et Piano
63
Quatuor de Cuivres : 2 trompettes, trombone, tuba
58
Ensemble de Trompettes
45
Trombone (partie séparée)
43
Cor
37
Trompette (partie séparée)
36
Trombone
33
Quatuor de Cuivres: 2 trompettes, Cor, trombone
31
Tuba et Piano
31
Ensemble de Trombones
28
Quatuor de Cuivres
25
Tuba
23
2 Trombones (duo)
17
Euphonium, Piano (duo)
17
Trompette, Trombone (duo)
15
Cor anglais, Piano
14
2 Trompettes (duo)
11
2 Cors (duo)
9
Quatuor de cuivres: 4 trombones
8
Cor (partie séparée)
7
2 Tubas (duo)
6
Quatuor de cuivres: 4 cors
6
Quatuor de cuivres: 4 trompettes
5
Trompette, Saxophone (duo)
5
Cor Anglais
5
Trompette, Cor (duo)
4
Tuba et Orgue
4
Euphonium
3
Ensemble de Cors
3
Tuba (partie séparée)
3
4 Tubas
3
Instruments en Sib
3
Cor anglais, Guitare (duo)
2
Trio de Cuivres
2
Trombone basse et Piano
2
2 Euphoniums (duo)
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
2 Cors Anglais Et Pianoforte
1
Trombone, Cor (duo)
1
3 Trombones (trio)
1
2 Cors, Piano
1
Trombone, Orgue
1
Euphonium, Tuba (duo)
1
Cor anglais et Harpe (duo)
1
3 Euphoniums
1
Trombone basse
1
Cor et Harpe
1
Bass Clef Instruments
1
Cor, Violoncelle (duo)
1
Cor et Orgue
1
Trompette, Harpe
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
387
Violon et Piano
180
Violon
177
Violon, Violoncelle (duo)
171
Trio à Cordes: violon, alto, violoncelle
154
Violoncelle, Piano
107
Alto, Piano
89
Harpe
63
Violoncelle
52
2 Violons (duo)
36
Quintette à cordes: 2 violons, alto, violoncelle, basse
36
Violoncelle (partie séparée)
35
Alto seul
34
2 Violoncelles (duo)
28
Contrebasse, Piano (duo)
26
Trio à Cordes: 2 violons, violoncelle
25
Violon, Alto (duo)
25
Contre Basse
24
2 Altos (duo)
20
Contrebasse (partie séparée)
20
Violon (partie séparée)
15
Alto (partie séparée)
13
Violon, Guitare (duo)
12
4 Violoncelles
9
Ensemble de Violons
8
Ensemble d'Altos
7
Harpe, Flûte (duo)
7
Quintette à cordes: 2 violons, 2 altos, violoncelle
4
Violoncelle, Contrebasse (duo)
4
Trio à Cordes: 3 violoncelles
3
Alto, Violoncelle (duo)
3
2 Harpes (duo)
3
Piano Trio: Violon, Alto, Piano
3
2 Contrebasses (duo)
3
Harpe et Piano
2
Alto, Guitare (duo)
2
Trio à cordes: 3 violins
2
Violoncelle , Guitare (duo)
2
Violon, Orgue
2
2 Violons, Piano
2
Violoncelle, Orchestre
2
Quatuor à cordes : 4 altos
2
Harpe, Violon (duo)
2
Trio à Cordes: 2 violons, alto
2
Violon, Clarinette, Piano (trio)
2
Alto et orchestre
1
Alto et Harpe
1
Ensemble de Violoncelles
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Harpe, Trombone (duo)
1
Violoncelle, Basse continue
1
Harpe, Violoncelle (duo)
1
4 Contrebasses
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
736
Orchestre à Cordes
217
Orchestre
159
Cloches
143
Orchestre de chambre
89
Ensemble de cuivres
83
Ensemble Jazz
67
Jazz combo
23
Percussion (partie séparée)
23
Marimba
18
Ensemble de Percussions
14
Batterie
9
Fanfare
7
Batterie (partie séparée)
7
Percussion
5
Timbales (partie séparée)
4
Vibraphone
2
2 Xylophones
2
Voix Mezzo-Soprano, Orchestre
1
Piano et Orchestre
1
Xylophone, Piano
1
3 Marimbas
1
Instrumentation Flexible
1
Caisse Claire
1
Vibraphone et Marimba
1
Orchestre, Violon
1
Ensemble d'École
1
Xylophone
1
Instrumentations suivantes
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AUTRES
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Ally Cho
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Partitions à imprimer
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151
Fêtes Galantes : 1er Tableau - Les Masques for solo/mixed chorus and orchestra - Score Only
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1086971 Composed by Claude Debu…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1086971 Composed by Claude Debussy/Robert Orledge. Classical,Contemporary,Opera. Score and parts. 32 pages. Musik Fabrik Music Publishing #691161. Published by Musik Fabrik Music Publishing (A0.1086971). Scored for baritone (or counter-tenor) soloist, mixed chorus and orchestra (2222/2200/timp/2perc/hp/cel/mand/strings). Fêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy’s friend Louis Laloy in November, 1913. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice of 1912 entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, ‘Les Masques’, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine’s comedy Les Uns et les autres (1884). The action is set in a park à la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin.. This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L’Isle joyeuse (1904). Following Laloy’s scenario, the masqueraders then sing extracts from Verlaine’s ‘A la promenade’ (from Fêtes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.
$24.95
22.97 €
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Orchestre
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Claude Debussy/Robert Orledge
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Fêtes Galantes : 1er Tableau - Les Masques for solo/mixed chorus and orchestra - Score Only
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Musik Fabrik Music Publishing
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SheetMusicPlus
Baroque Menuet for School String Orchestra and 3 violins
Orchestre
Full Orchestra - Level 2 - Digital Download SKU: A0.1029483 Composed by Olly Radko.…
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Full Orchestra - Level 2 - Digital Download SKU: A0.1029483 Composed by Olly Radko. Baroque. Score and parts. 41 pages. Olexiy Radko #5989839. Published by Olexiy Radko (A0.1029483). A perfect thing to impress listeners and musicians. As Baroque masterpieces are quite difficult for playing in Schools, this is the brilliant case to imitate full Italian Baroque Style for beginners and early intermediate level musicians. There're 3 solo violinists so they can make a real playing competition (as their parts are equally difficult). There's a large cadenza without Tutti where they soloists can show all their skills.PDF of every orchestra part are available: 3 soloists, harpsichord (or simply piano), Violins 1 and 2, Violas, Cellos, and Basses.
$19.99
18.41 €
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Orchestre
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Olly Radko
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Baroque Menuet for School String Orchestra and 3 violins
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Olexiy Radko
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SheetMusicPlus
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company. At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc. At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process. The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral. In the premiere, the Robinson Ballet will dance in the orchestral movements. The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man. It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor. God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.
$9.99
9.2 €
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Orchestre
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Thomas Oboe Lee
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Symphony No. 6 ... The Penobscot River
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Thomas Oboe Lee
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SheetMusicPlus
Of The People for Chorus and Orchestra
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.755235 Composed by Sy Brandon. …
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Full Orchestra - Level 5 - Digital Download SKU: A0.755235 Composed by Sy Brandon. 20th Century,Contemporary,Patriotic. Score and parts. 240 pages. Sy Brandon #3536823. Published by Sy Brandon (A0.755235). This is the orchestra score and instrumental parts for a three-movement composition for SATB Choir, SATB Soloists, and full orchestra. The text comes from The Declaration of Independence, Lincoln's Gettysburg Address, and John F. Kennedy's Inaugural Address. This 20-minute composition is symphonically crafted and is in a modern tonal language. The score prints on legal size paper and can be enlarged on a photocopier to ledger size paper for easier reading. The parts print on letter size paper. The piano/vocal score is available separately at https://www.sheetmusicplus.com/title/20742175
$49.99
46.03 €
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Orchestre
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Sy Brandon
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Of The People for Chorus and Orchestra
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Sy Brandon
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SheetMusicPlus
Mass for the Holy Year 2000, pt. 1 (2000) for SATB soloists, chorus and orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869362 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869362 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 109 pages. Thomas Oboe Lee #25513. Published by Thomas Oboe Lee (A0.869362). Instrumentation: SATB chorus and soloists plus orchestra 2222-2221-timp-perc-hp-org-strings. Mass for the Holy Year 2000 is in nine movements and scored for SATB chorus, chamber orchestra and organ. I set the entire Latin text from the Ordinary of the Mass: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. In between these sections, I added four settings of contemporary poems written in English. Initially, I wanted to use poems that would bring to the listener's attention the serious humanitarian issues we face every day on earth as we enter a new millennium: religious and ethnic wars, poverty, genocide, AIDS, intolerance, social inequality and racial injustice. But as I began to slowly understand the text of the Mass, I decided that the contemporary poems I would use should reflect and amplify what is already in the Latin text. It is all about faith and redemption. Elizabeth Kirschner (b. 1955) is a poet who lives in Chestnut Hill, Massachusetts. Her poem is about the search for God. Claude McKay (1890-1948), a member of the Harlem Renaissance Poets, was originally from Jamaica. His poem asks for God's presence. Edith Stein (1891-1942) was a Carmelite nun who was killed by the Nazis during World War II because she was a Jew. Her poem celebrates God's presence. The final poem is by the Trappist monk, Thomas Merton (1915-1968). His poem, which was published posthumously, is about the assassination of the civil rights leader, Dr. Martin Luther King.
$9.99
9.2 €
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Orchestre
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Thomas Oboe Lee
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Mass for the Holy Year 2000, pt. 1
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Thomas Oboe Lee
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SheetMusicPlus
Mass for the Holy Year 2000, pt. 2 (2000) for SATB soloists, chorus and orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869364 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869364 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 104 pages. Thomas Oboe Lee #25515. Published by Thomas Oboe Lee (A0.869364). Instrumentation: SATB chorus and soloists plus orchestra 2222-2221-timp-perc-hp-org-strings. Mass for the Holy Year 2000 is in nine movements and scored for SATB chorus, chamber orchestra and organ. I set the entire Latin text from the Ordinary of the Mass: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. In between these sections, I added four settings of contemporary poems written in English. Initially, I wanted to use poems that would bring to the listener's attention the serious humanitarian issues we face every day on earth as we enter a new millennium: religious and ethnic wars, poverty, genocide, AIDS, intolerance, social inequality and racial injustice. But as I began to slowly understand the text of the Mass, I decided that the contemporary poems I would use should reflect and amplify what is already in the Latin text. It is all about faith and redemption. Elizabeth Kirschner (b. 1955) is a poet who lives in Chestnut Hill, Massachusetts. Her poem is about the search for God. Claude McKay (1890-1948), a member of the Harlem Renaissance Poets, was originally from Jamaica. His poem asks for God's presence. Edith Stein (1891-1942) was a Carmelite nun who was killed by the Nazis during World War II because she was a Jew. Her poem celebrates God's presence. The final poem is by the Trappist monk, Thomas Merton (1915-1968). His poem, which was published posthumously, is about the assassination of the civil rights leader, Dr. Martin Luther King.
$9.99
9.2 €
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Orchestre
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Thomas Oboe Lee
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Mass for the Holy Year 2000, pt. 2
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Thomas Oboe Lee
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SheetMusicPlus
A Parlance of Episodic Contradiction, for school orchestra
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.851539 Composed by Brett Thomps…
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Full Orchestra - Level 3 - Digital Download SKU: A0.851539 Composed by Brett Thompson. Contemporary. Score and parts. 60 pages. Brett Thompson #2968017. Published by Brett Thompson (A0.851539). This work for School Orchestra was written for the Tamworth Regional Youth Orchestra in New South Wales, Australia. The idea and title came about through my memory of playing medleys in school orchestra as a child - relatively unrelated material, structurally and stylistically, stuck together with fairly abrupt juxtapositions. I set out to follow this model with original material. It appealed to my sense of the silly.
$45.00
41.44 €
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Orchestre
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Brett Thompson
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A Parlance of Episodic Contradiction, for school orchestra
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Brett Thompson
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SheetMusicPlus
Sally's Song
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1295483 Composed by Danny Elfma…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1295483 Composed by Danny Elfman. Arranged by Bryson Merkley. Film/TV,Halloween. Score and Parts. 80 pages. Voices of the Valley #885772. Published by Voices of the Valley (A0.1295483). Nostalgic and beautiful, this modern arrangement of Sally's Song from The Nightmare Before Christmas for Choir and Orchestra will leave your audiences and musicians breathless! The stunning finale of the piece is a perfect way to round out your fall programs.
$90.00
82.87 €
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Orchestre
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Danny Elfman
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Bryson Merkley
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Sally's Song
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Voices of the Valley
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SheetMusicPlus
DIDYOUREALLYJUSTWANNABOMBTHEBASS
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1017540 Composed by Klaudio Tub…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1017540 Composed by Klaudio Tubin. Contemporary,Film/TV,Musical/Show,Rock. Score and parts. 20 pages. Klaudio Tubin #6198925. Published by Klaudio Tubin (A0.1017540). Duration ca 5 min. ,from Megablast - Soundtracks for Your Life by KT, https://www.youtube.com/playlist?list=OLAK5uy_mVgZw7D7nX_SC546plklLxSlTGDeAZhrIsections chord note separation recommended .
$7.77
7.15 €
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Orchestre
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Klaudio Tubin
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DIDYOUREALLYJUSTWANNABOMBTHEBASS
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Klaudio Tubin
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SheetMusicPlus
You Really Know How To Hurt A Guy
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1406759 Composed by Jan Berry, …
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Full Orchestra - Level 5 - Digital Download SKU: A0.1406759 Composed by Jan Berry, Jill Gibson, and Roger Christian. Arranged by Jan Berry. 20th Century,Pop,Rock. 48 pages. Fiji Printing #989513. Published by Fiji Printing (A0.1406759). You Really Know How to Hurt a Guy — Orchestral Arrangement.Jan Berry and George Tipton's original music score, used by Wrecking Crew studio musicians to record Jan & Dean's Pop Symphony album in 1965.Transcribed by Mark A. Moore from Jan Berry's music archive, in association with his estate. Moore is the author of Dead Man's Curve: The Rock 'n' Roll Life of Jan Berry (McFarland 2021) and The Jan & Dean Record (McFarland 2016).Fiji Printing #13. Distributed by ArrangeMe and the Hal Leonard Corporation.Perfect for college, state, and local orchestras who want to tackle this classic track from 1965.Full Music Score and Individual Charts.WOODWINDS: Flute; Oboe; English Horn; Clarinet; Bass Clarinet; Bassoon; Contrabassoon.BRASS: French Horn 1-2; Trumpet 1-3; Trombone.STRINGS: Violin 1-8; Viola 1-2; Cello 1-2; Contrabass.RHYTHM: Timpani; Percussion (Wind Chimes, Vibraphone, Glockenspiel, Marimba, Xylophone, Chimes); Drums; Piano; Celeste; Guitar 1; Guitar 2; Bass.Publication includes: (1) Illustrated cover page; (2) Introductory text with commentary on the Pop Symphony album and the musicians who performed on it; (3) Song chronology with recording session details; (4) Full music score; (5) Individual charts for each part in the music score; and (6) Illustrations, including images from Jan Berry’s music archive.40 distinct chords.48 Pages.; 11 x 17.Learn more about Jan Berry and Jan & Dean: https://jananddean-janberry.com/
$49.99
46.03 €
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Orchestre
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Jan Berry, Jill Gibson, and Roger Christian
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Jan Berry
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You Really Know How To Hurt A Guy
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Fiji Printing
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SheetMusicPlus
Melodies
Orchestre
Orchestra - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: stu…
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Orchestra - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: study score. Music Of Our Time. Downloadable. Duration 12 minutes. Schott Music - Digital #Q23904. Published by Schott Music - Digital
I composed the orchestral piece Melodien in 1971. I tried to loosen up the dense micropolyphony of my musical language, to make it more transparent. Basically, I stayed true to my earlier style: the musical form unfolds like a stretched fabric in the continuously flowing time, but the individual voices no longer merge (as in my earlier music), rather they can be heard individually in their overlapping and interweaving . The voices become individual melodies, with their own style, their own tempo, rhythm and interval structure. If you listen to the work for the first time, it appears as a chaos of discrepant melodies - but if you know the music better, the internal connections become tangible, the hidden harmonic skeleton of the form becomes tangible. (Gyorgy Ligeti)<br> <br> This facsimile edition offers an impressive access to the composer's work. A study score in modern notation is also available.
$22.99
21.17 €
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Orchestre
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Gyorgy Ligeti (1923-2006)
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Melodies
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Schott Music - Digital
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SheetMusicPlus
The Black Mass
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1143117 Composed by Piano Sonat…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1143117 Composed by Piano Sonata No. 9 Op. 68 Alexander Scriabin. Arranged by Blake P. McCabe. 20th Century,New Age. Score and parts. 43 pages. Blake P. McCabe #743479. Published by Blake P. McCabe (A0.1143117). This composition is an arrangement of Scriabin’s Piano Sonata No. 9 Op 68. This piece has traditionally been nicknamed The Black Mass and was written for piano. Scriabin himself accepted this nickname for the piece and earlier on wrote a piece that would be nicknamed The White Mass. The Black mass was completed in 1913, a mere 2 years before his untimely death. The piece is built upon his ‘mystic chord, a hexachord built on fourths. Scriabin described this chord of embodying the divine and having a smoky tonal color, stemming from his own perception of sound as color. This piece moves from haunting sounds in its first motif to a chilling climax, returning to a mysterious murmur, and moves through multiple tempos to drag the listener along its march through its gothic vision, until finally returning to its first motif and leaving the listener haunted by the dark, colorful visions it invokes. To date of publication of this arrangement, I have yet to find an arrangement of The Black Mass for orchestra, band, nor symphony. The piece has many layers within it and includes complex polyrhythms typical of his music. The dark uncurrent, along with the form and choice of lack of direct key signature pose a unique challenge in the arrangement of this piece. I have deigned to maintain the feel of the original piano version, including his choice of time signatures and rhythmic choices while bringing it to life through the sounds of a modified symphony orchestra. This arrangement relies on the timbres of the instrument families to portray the emotional colors of the piece and particularly highlights the woodwind section of the symphony orchestra, along with the angelic sounds of the harp. Percussion is added through timpani, xylophone, glockenspiel, and multi-percussion to heighten the emotional experience of the arrangement.
$35.00
32.23 €
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Orchestre
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Piano Sonata No
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Blake P
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The Black Mass
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Blake P. McCabe
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SheetMusicPlus
EP!C!!!
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1031686 Composed by Austin Wint…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243. Published by Austin Wintory (A0.1031686). EP!C!!! is an overture-sized orchestral work, originally commissioned by the West Michigan Symphony in 2016. It is intended as a higher energy opener or Act 1 closer. Program notes:Entirely by mistake, EP!C!!! is study in conflict. The piece began with a simple premise: compose a work which teases some of the pervasive clichés of today’s musical landscape (particularly the Hollywood or so-called media music scenes). Those clichés are primarily two gestures: 1) a progression of chords, often called the Chords of Destiny (consisting of i – VI – III – VIII) and 2) an endlessly repeating minor third ostinato.The conflict emerged internally when, after multiple false starts, I would quickly start to hate the piece because it felt like the clichés were being presented whole cloth, without the slightest sense of irony. I became deeply paranoid that the music wasn’t in on its own joke. When I would reverse course, it felt condescending, as though it were declaring from some erudite ivory tower that it was above those gestures. The trouble particularly with the latter is that clichés become so for a reason; something genuinely compelling becomes so ubiquitous that it loses some of the freshness, but that doesn’t erase what initially made it compelling. So the piece needed to somehow make fun of the fact that these gestures are cliché, while not dismissing their intrinsic value. And indeed, to celebrate that value!It took a long time to find my place between those two extremes, and ultimately I think the music that emerged is actually the conflict itself manifest. The two gestures are this constant presence, almost like a seductive temptation, that are initially regarded as distractions, but eventually become the music’s core. It’s as though the music finally decided to just relent and find something to truly love and celebrate within these overwrought ideas, haters be damned.However, for the sake of total clarity of intention, I couldn’t resist some on-the-nose tongue-in-cheek. The little cameo of Haydn’s lulling 94th Symphony 2nd movement tune is my way of saying you think classical music is epic??? THEN LISTEN TO THIS SH*T!!! before inevitably popping open a Mountain Dew and snowboarding into an avalanche.- Austin Wintory, October 21, 2016
$40.00
36.83 €
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Orchestre
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Austin Wintory
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EP!C!!!
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Austin Wintory
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SheetMusicPlus
Alice In Wonderland
Orchestre
Full Orchestra - Digital Download SKU: A0.1209483 By Jud Conlon Chorus. By Amphibia…
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Full Orchestra - Digital Download SKU: A0.1209483 By Jud Conlon Chorus. By Amphibia Cultural Legacy. Arranged by Amphibia Cultural Legacy. 19th Century,20th Century,Broadway,Classical,Film/TV,Musical/Show. Score and Parts. 5 pages. Amphibia Cultural Legacy #807612. Published by Amphibia Cultural Legacy (A0.1209483). Amphibia Cultural Legacy, a musical group known for their instrumental covers of classic Disney songs, has released a new remix of Alice In Wonderland from the 1951 movie of the same name. The original song was sung by the Jud Conlon Chorus, and Amphibia Cultural Legacy has added additional instruments to create a unique spin on this beloved tune. This new version is sure to delight both fans of the original film and music enthusiasts alike.The addition of extra instruments adds depth to an already catchy melody, making it perfect for dancing or just enjoying as background music. The group's attention to detail shines through in every note played, perfectly capturing the whimsical feel of Walt Disney's Alice in Wonderland. Those who are familiar with Amphibia Cultural Legacy's previous works will not be disappointed with this latest release, which is sure to become a fan favorite among their extensive discography.Amphibia Cultural Legacy is proud to present its orchestral cover of Alice In Wonderland, the central theme in the 1951 animated movie. Initially written by the Jud Conlon Chorus for Walt Disney's Alice In Wonderland, this piece has stood the test of time and remains a beloved classic. Amphibia Cultural Legacy has taken this iconic tune and given it new life with its unique arrangement.The Jud Conlon Chorus version of Alice In Wonderland intends initially as a fun and whimsical introduction to the fantastical world that awaited viewers in the film. The song features playful lyrics and an upbeat melody that perfectly captures the adventure spirit permeating Alice's journey. Amphibia Cultural Legacy's version pays homage to these themes while adding their flair through orchestral instruments.Amphibia Cultural Legacy has done it again with their latest release, an orchestral cover of Alice In Wonderland. Initially written by the Jud Conlon Chorus in Walt Disney's Alice In Wonderland, this classic song has been given a fresh new sound thanks to the fantastic talent and creativity of Amphibia Cultural Legacy.Listening to this cover is like going down the rabbit hole into a magical world filled with wonder and imagination. Various instruments help create a whimsical atmosphere that perfectly captures the essence of Lewis Carroll's timeless tale. The music builds up gradually, taking listeners through different emotions and moods before finally reaching its climax at the end.The attention to detail in this cover is truly remarkable, with every instrument perfectly timed and synchronized throughout the entire piece.
$70.00
64.46 €
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Orchestre
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Jud Conlon Chorus
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Amphibia Cultural Legacy
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Alice In Wonderland
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Amphibia Cultural Legacy
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestre
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.02 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestre
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
23.02 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestre
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.02 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
La selva incantata
Orchestre
Orchestra - Digital Download SKU: S9.Q3135 The Enchanted Forest. Composed by…
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Orchestra - Digital Download SKU: S9.Q3135 The Enchanted Forest. Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 11 minutes. Schott Music - Digital #Q3135. Published by Schott Music - Digital (S9.Q3135). This music is taken from the second act of my early opera King Stag. In the original, the aria - here rescored for the orchestra alone - is sung by the protagonist (tenor) who yearns to return to the woods, to nature, to the origins of his animal existence. The rondo is set in a very fast dance tempo (a Tarantella?) and is in three parts: the first one is cheerful and comic, the second one lyrical, almost romantically so, whereas the third one is impetuous and dramatic. The music of both pieces has been considerably rewritten and altered, in harmonic, melodic and rhythmic aspects. - Hans Werner Henze2 (2. auch Picc.) * 2 (2. auch Engl. Hr.) * 2 (2. auch Bassklar.) * Altsax. * 2 (2. auch Kfg.) - 3 * 2 * 2 * 0 - P. S. (Trgl. * hg. Beck. * Beckenpaar * 3 Tomt. * 3 Bong. * Mil. Tr. * gr. Tr. [mit Beck.]) (2 Spieler) - Hfe. * Cel. * Klav. - Str.
$23.99
22.09 €
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Orchestre
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Hans Werner Henze
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La selva incantata
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Schott Music - Digital
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17 (parts)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
193.37 €
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
193.37 €
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
with their absences we mourn
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1074986 Composed by Nathan Groc…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1074986 Composed by Nathan Grocholski. Classical,Contemporary. Score and parts. 115 pages. Nathan Grocholski #679248. Published by Nathan Grocholski (A0.1074986). The past year has been filled with collective grief throughout the entire world. In some way or another, the global pandemic of 2020-21 has affected each one of us in our own way. In this piece, I illustrate the five stages of grief; denial, anger, bargaining, depression, and acceptance. The entire piece is harmonically based on two pitches, E and G-sharp. In the denial and anger stage of this work, this is characterized by a C augmented chord. Once the music finally makes sense of this loss, each of the instruments begin to play off each other; as part of the bargaining. About two-thirds of the way into the entire composition, the piece dramatically slows down and the E and G-sharp chord returns, only this time with C-sharp to represent a minor chord. The texture is heavy to represent depression. At measure 201, the flute enters with a melody that gradually grows, symbolic of accepting the loss as the texture increases. The final phrase of this piece ends with the true acceptance of this loss, but the grief has not completely dissipated. It shrinks, but still remains. The opening section’s E and G# are retained in the final chord of the composition to show that grief remains. But they are now part of an E major triad, suggesting acceptance and moving forward.
$5.00
4.6 €
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Orchestre
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Nathan Grocholski
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with their absences we mourn
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Nathan Grocholski
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SheetMusicPlus
Symphony No.3
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.855280 Composed by Joseph Pugh.…
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Full Orchestra - Level 3 - Digital Download SKU: A0.855280 Composed by Joseph Pugh. 20th Century,Contemporary,Wedding. Score and parts. 36 pages. Joseph Pugh #6525523. Published by Joseph Pugh (A0.855280). This is the 1st movement of Symphony No. 3 ,In Your Stillness, By Joseph Pugh This familiar form as a single-movement character piece usually written for solo piano, the nocturne was cultivated primarily in the 19th century. The first nocturnes to be written under the specific title were by the Irish composer John Field, generally viewed as the father of the Romantic nocturne that characteristically features a cantabile melody over an arpeggiated, even guitar-like accompaniment. However, the most famous exponent of the form was Frédéric Chopin, who wrote 21 of them. Your Symphony will enjoy playing this Melancholy Nocturne by, Joseph Pugh. Download it today at a reduced price.
$35.00
32.23 €
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Orchestre
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Joseph Pugh This familiar form as a single-movement character piece usually written for solo piano, the nocturne was cultivated primarily in the 19th century
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Joseph Pugh
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Symphony No.3
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Joseph Pugh
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SheetMusicPlus
Hark! the Herald-Angels Sing (Letter Format)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.978434 Composed by Felix Bartho…
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Full Orchestra - Level 4 - Digital Download SKU: A0.978434 Composed by Felix Bartholdy Mendelssohn. Arranged by Sandstone Music. Christian,Christmas,Praise & Worship,Sacred. Score and parts. 48 pages. Sandstone Music #6057731. Published by Sandstone Music (A0.978434). The latest publication in the Sandstone Epic Christmas Collection, this new arrangement of 'Hark! the Herald-Angels Sing' is for full orchestra when you want to impress the audience! Including all three verses of this carol, this arrangement is suitable for choirs and / or audiences to sing along to. A brand new fanfare between verses 2 and 3 has been included, as well as a brand new descant. If your choir or audience wish to sing the standard David Willcocks choral parts in the first two verses, or his descant in the third verse, these will also fit with this arrangement.Christmas carols for full orchestra are virtually impossible to find, so the Sandstone Epic Christmas Collection solves this problem. Suitable for use by churches, schools, colleges and universities as well as amateur and professional orchestras, these arrangements add a new interest to existing well-known and well-loved carols, meaning you can include them in your Christmas programme for your choir or for audience participation.
$79.99
73.66 €
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Orchestre
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Felix Bartholdy Mendelssohn
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Sandstone Music
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Hark! the Herald-Angels Sing
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Sandstone Music
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SheetMusicPlus
Hark! the Herald-Angels Sing (A4 Format)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.978435 Composed by Felix Bartho…
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Full Orchestra - Level 4 - Digital Download SKU: A0.978435 Composed by Felix Bartholdy Mendelssohn. Arranged by Sandstone Music. Christian,Christmas,Praise & Worship,Sacred. Score and parts. 48 pages. Sandstone Music #6057735. Published by Sandstone Music (A0.978435). The latest publication in the Sandstone Epic Christmas Collection, this new arrangement of 'Hark! the Herald-Angels Sing' is for full orchestra when you want to impress the audience! Including all three verses of this carol, this arrangement is suitable for choirs and / or audiences to sing along to. A brand new fanfare between verses 2 and 3 has been included, as well as a brand new descant. If your choir or audience wish to sing the standard David Willcocks choral parts in the first two verses, or his descant in the third verse, these will also fit with this arrangement.Christmas carols for full orchestra are virtually impossible to find, so the Sandstone Epic Christmas Collection solves this problem. Suitable for use by churches, schools, colleges and universities as well as amateur and professional orchestras, these arrangements add a new interest to existing well-known and well-loved carols, meaning you can include them in your Christmas programme for your choir or for audience participation.
$79.99
73.66 €
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Orchestre
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Felix Bartholdy Mendelssohn
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Sandstone Music
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Hark! the Herald-Angels Sing
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Sandstone Music
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SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00
92.08 €
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Orchestre
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
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