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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
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CHORALE - CHAN…
CITHARE
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FORMATION MUSI…
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1
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1
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2
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2
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32
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14
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3
Contrebasse (partie séparée)
2
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2
Harpe
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2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Alto (partie séparée)
1
Violoncelle, Contrebasse (duo)
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Trio à Cordes: 2 violons, violoncelle
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83
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13
Ensemble Jazz
12
Orchestre à Cordes
10
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6
Batterie
5
Percussion
2
Timbales (partie séparée)
2
Fanfare
2
Ensemble de cuivres
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1
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Jazz combo
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Arta Music
Orchestre
Partitions à imprimer
13 partitions trouvées
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1
Spartacus - Love Theme
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1453541 By Alex North Alex. By …
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Full Orchestra - Level 3 - Digital Download SKU: A0.1453541 By Alex North Alex. By Alex North. Arranged by Chris Siddall. Film/TV. 77 pages. Chris Siddall Music Publishing #1032766. Published by Chris Siddall Music Publishing (A0.1453541). The score for Spartacus is a musical masterpiece - monumental, ground-breaking and profound - as well as a masterpiece of scoring in the way composer Alex North was able to tell the story through music, giving character insight that no words or actor‘s performance ever could capture. It features not only one of the most touching love themes ever composed, one that achieves an almost paralyzing beauty in its most expressive moments, but also some of the most complex and bracing music that a composer ever dared to compose for a film. In the end, it is Alex North‘s magnum opus.Created from the original manuscript, this release offers a rare opportunity to perform film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$49.99
45.47 €
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Orchestre
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Alex North Alex
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Chris Siddall
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Spartacus - Love Theme
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Chris Siddall Music Publishing
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SheetMusicPlus
Spartacus - Love Theme - Score Only
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1381520 By Alex North Alex. By …
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Full Orchestra - Level 3 - Digital Download SKU: A0.1381520 By Alex North Alex. By Alex North. Arranged by Chris Siddall. Film/TV. 8 pages. Chris Siddall Music Publishing #966237. Published by Chris Siddall Music Publishing (A0.1381520). The score for Spartacus is a musical masterpiece - monumental, groundbreaking and profound - as well as a masterpiece of scoring in the way composer Alex North was able to tell the story through music, giving character insight that no words or actor‘s performance ever could capture. It features not only one of the most touching love themes ever composed, one that achieves an almost paralyzing beauty in its most expressive moments, but also some of the most complex and bracing music that a composer ever dared to compose for a film. In the end, it is Alex North‘s magnum opus.Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$4.99
4.54 €
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Orchestre
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Alex North Alex
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Chris Siddall
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Spartacus - Love Theme - Score Only
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Chris Siddall Music Publishing
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SheetMusicPlus
The Girl From Ipanema (garôta De Ipanema)
Orchestre
By Stan Getz & Astrud Gilberto. By Antonio Carlos Jobim. Arranged by Ed Trimis. …
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By Stan Getz & Astrud Gilberto. By Antonio Carlos Jobim. Arranged by Ed Trimis. Contemporary. Score and parts. 76 pages. Trimis Music #6215947. Published by Trimis Music
$55.00
50.03 €
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Orchestre
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Stan Getz & Astrud Gilberto
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Ed Trimis
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Astrud Gilberto
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The Girl From Ipanema
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Trimis Music
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SheetMusicPlus
The Girl From Ipanema (garôta De Ipanema)
Orchestre
Full Orchestra - Level 3 - Digital Download By Stan Getz & Astrud Gilberto. By An…
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Full Orchestra - Level 3 - Digital Download By Stan Getz & Astrud Gilberto. By Antonio Carlos Jobim, Norman Gimbel, and Vinicius De Moraes. Arranged by Matt Amy. Contemporary, Jazz, Latin, Pop. Score and parts. 87 pages. Matt Amy Music #695717. Published by Matt Amy Music
$75.00
68.22 €
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Orchestre
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Stan Getz & Astrud Gilberto
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Astrud Gilberto
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The Girl From Ipanema
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Matt Amy Music
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SheetMusicPlus
Con Te Partiro (time To Say Goodbye)
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1139872 By Andrea Bocelli. By F…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1139872 By Andrea Bocelli. By Francesco Sartori and Lucio Quarantotto. Arranged by Flavio Regis Cunha. 20th Century,Contest,Festival,Opera,Pop,Wedding. Score and Parts. 59 pages. Flavio Regis Cunha #740145. Published by Flavio Regis Cunha (A0.1139872). Introducing the most romantic and emotive piece of music composed by two legendary Italian artists - Lucio Quarantotto and Francesco Sartori - 'Con Te Partiro (Time to Say Goodbye). This timeless piece of music has the power to hit the heartstrings and the mind in equal measure. It is the perfect choice for any orchestra or group of musicians wanting to create an atmosphere of emotion in their performance. Â Let this venerable music take your performance to a new level of excellence as you transport your audience to a world of romance and deep emotion. 'Con Te Partiro (Time to Say Goodbye) will be sure to create a powerful, lasting impression on even your toughest critics. Â Download your copy today and add a classic touch to your music.Sheet music download, complete score and all individual instruments and voice parts. Advanced Intermediate.Format: Concert, 9 x 12 inches59 pages.Time To Say Goodbye (FULL SCORE) Con te partiro for Soprano, Tenor and Orchestra. Andrea Bocelli and Sarah Brightman: Time To Say Goodbye. Live From Teatro Del Silenzio, Italy / 2007 Artist Andrea Bocelli & Sarah Brightman Composers Frank Peterson, Lucio Quarantotto, Francesco Sartori Complete version of TIME TO SAY GOODBYE from Andrea Bocelli & Sarah Brightman for Soprano, Tenor, Choir and Orchestra.Orchestration: FLUTE 1, FLUTE 2, OBOE 1, OBOE 2, CLARINET 1 IN Bb, CLARINET 2 IN Bb, BASSOON 1, BASSOON 2 , HORN 1 IN F, HORN 2 IN F, HORN 3 IN F, TRUMPET 1 IN Bb, TRUMPET 2 IN Bb, TROMBONE 1, TROMBONE 2, BASS TROMBONE, TUBA, PERCUSSION (Timpani, Snare Drum, Bass Drum, Cymbals) - 4 players, HARP, PIANO, CHOIR (SATB), VIOLIN 1, VIOLIN 2, VIOLA, VIOLONCELLO, DOUBLE BASS.Program NotesCon Te Partiro (Time To Say Goodbye), composed by Lucio Quarantotto and Francesco Sartori, is an Italian aria of immense power and emotional intensity. The iconic performance of the song was delivered by world renowned artists Andrea Bocelli and Sarah Brightman at the Teatro del Silenzio in Italy during 2007. The song emerged from a commingling of their beautiful voices in perfect harmony, ultimately delivering an emotionally charged performance that transcended beyond language barriers and touched the souls of people around the world. Â This heartfelt performance of Con Te Partiro (Time To Say Goodbye) takes its audience on a journey. From the emotion-filled verses, to the powerful build up of the instruments supporting the crescendo of the chorus, the energy and emotion reach a crescendo before slowly fading out to a beautiful and melancholic farewell. The combination of affective singing and passionate playing of the instruments created an intimate atmosphere, leaving the audience with a sense of heartache and clarity. Â This song represents a beautiful goodbye to a loved one, and the emotions portrayed echo each listener's hope for a meaningful and beautiful farewell. With its powerful vocals and evocative arrangement, Con Te Partiro (Time to Say Goodbye) by Lucio Quarantotto and Francesco Sartori will remain a timeless classic.
$89.99
81.85 €
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Orchestre
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Andrea Bocelli
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Flavio Regis Cunha
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Con Te Partiro
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Flavio Regis Cunha
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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
90.96 €
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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
CC115ORC - Laisse-moi être ce jour dans ta vie
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1167924 By Carl Van Pevenage. B…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1167924 By Carl Van Pevenage. By Carl Van Pevenage. Arranged by Carl Van Pevenage. 20th Century,Broadway,Film/TV,Multicultural,Musical/Show,Romantic Period,World. Score and parts. 95 pages. Carl Van Pevenage #768280. Published by Carl Van Pevenage (A0.1167924). After 15 years finally the Orchestra version is ready. A relief! I hope you enjoy it. The verses and the intermezzo are made based on a poem by Yoan Letend which with a few changes fits on the notes. The chorus has no lyrics.  **************************************** Ce jour dans ta vie Lorsque le jour se lève, doucementTu t’éveilles de ton long sommeilTu ouvres ta fenêtre en regardantLe monde se réveiller grâce à l’éclat du soleilAlors, c’est un nouveau matin pour toiEt tu espères que tes rêves vont se réaliserEn préparant ton cartable, tu penses déjà À tout ce qui te fait vivre et aimerPuis peut être, tu perds un peu de tempsÀ écouter dehors le chants des fleurs et des oiseauxEt à cet instant tu réalises que tout est importantMême si ce ne sont que des reflets dans l’eauLe monde bascule trop vers la violenceQue les gens ne savent plus vivre en paixIls enchaînent à des fers l’enfanceMais toi tu ne dois avoir aucun regretDu fond de mon esprit, j’écris ces motsJ’espère qu’ils résonneront plus vite que le sonJ’ai demandé sa plume à mon pierrotPour écrire un hymne que l’on chante à l’unissonC’est un peu de moi qui s’envoleAvec un zeste de folie et surtout de magieAlors comme la fleur a sa corolleLaisse moi être ce jour dans ta vieYoan Letend
$19.99
18.18 €
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Orchestre
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Carl Van Pevenage
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Carl Van Pevenage
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CC115ORC - Laisse-moi être ce jour dans ta vie
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Carl Van Pevenage
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SheetMusicPlus
Festival
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1119919 By Mike Lyons. By Mike …
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Full Orchestra - Level 4 - Digital Download SKU: A0.1119919 By Mike Lyons. By Mike Lyons. Classical,Contemporary. Score and parts. 111 pages. Lyons Music Services #721269. Published by Lyons Music Services (A0.1119919). Festival:(Time 7:05) This is an original, previously unpublished piece, composed specifically for the ICF festival 2022. It is a programmatic piece in 3 sections, with each section being a description of some aspect of the word Festival. I have taken the broadest definition of the word festival to give as much scope for variety as possible. The first section opens with ‘sunrise’ on the day of the festival, shown by long-held open fourth chords, with the snapping of the violin pizzicatos (perhaps) being the rattle of tent lines/guys. The bass clarinet solo then shows people waking up and stretching, yawning and just before Letter A, the descending figures throughout the ensemble bring us all together to start the festival. From Letter A, one sets off at a marching pace through the crowds. We hear a mish-mash of vendors’ calls overlaying each other, repeating variations of the same motif and this little tune develops as it moves around the festival site, sometimes loud and sometimes faint. At some point, of course, arguments break out (e.g. Letter B between the strings and brass), but generally, the mood is business-like. At Letter C, there comes a parade of minstrels through the field which eventually fades off into the distance. At Letter D, we look at a different kind of festival. Not necessarily religious, but certainly spiritual. The harp and bell sounds evoke far-eastern temples while the string harmonics evoke an eerie stillness which is broken only by the melodic fragments (based on the 4ths of the first section) which pass around the orchestra. The theme is first heard on the Cor Anglais (echoed by the harp) which gives it a warmer, less piercing, sound than the oboe. The quartal chords at b.149 denote the vast mysteries of the cosmos. As our gaze widens, we are suddenly brought back to Earth with a rush as yet another kind of festival is evoked. This time we are looking briefly at the Indian subcontinent. Where fakirs charm snakes and young boys climb ropes only to disappear. The third and final section returns us to the British Isles, where the Celts are making merry in a festival. There is dancing, singing, feasting and drinking a-plenty. And, just when you think it’s all over, there’s a final push to get another dance going. The final chords are a reminder of the opening as we finish our revels as the sun descends below the horizon in a beautiful sunset.
$55.00
50.03 €
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Orchestre
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Mike Lyons
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Festival
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Lyons Music Services
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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
191.01 €
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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
191.01 €
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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
Thérèse Brenet: Le Bois Amical for SATB chorus and orchestra, orchestral score
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.533514 Composed by Therese Bren…
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Full Orchestra - Level 4 - Digital Download SKU: A0.533514 Composed by Therese Brenet. 20th Century,Contemporary. Score and parts. 17 pages. Musik Fabrik Music Publishing #3006621. Published by Musik Fabrik Music Publishing (A0.533514). One of three works for mied chorus and orchestra (the others being “Rondel†and “Cielsâ€), this work may be performed as a cycle of three or seperately.orchestration: 2(pic)22(bscl)2/2000/timp/perc/chimes/vbra/hp/stringsparts on rental from the publisherduration: 4’10Nous avons pensé des choses puresCôte à côte, le long des chemins,Nous nous sommes tenus par les mainsSans dire... parmi les fleurs obscures ;Nous marchions comme des fiancésSeuls, dans la nuit verte des prairies ;Nous partagions ce fruit de féeriesLa lune amicale aux insensésEt puis, nous sommes morts sur la mousse,Très loin, tout seuls parmi l’ombre douceDe ce bois intime et murmurant ;Et là -haut, dans la lumière immense,Nous nous sommes trouvés en pleurantÔ mon cher compagnon de silence !Paul Valéry: Album des Vers Anciens
$16.95
15.42 €
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Orchestre
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Therese Brenet
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Thérèse Brenet: Le Bois Amical for SATB chorus and orchestra, orchestral score
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Musik Fabrik Music Publishing
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SheetMusicPlus
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