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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
It Baroque
Non classifié
1 592
Piano & claviers
Piano seul
656
Piano, Voix
284
Instruments en Do
234
Piano Facile
171
Orgue
78
Piano, Voix et Guitare
66
2 Pianos, 4 mains
20
Clavecin
16
1 Piano, 4 mains
14
Piano Trio: piano, violon, violoncelle
11
Orgue, Piano (duo)
11
Orgue, Trompette (duo)
10
Accompagnement Piano
6
Piano Quatuor: piano, violon, alto, violoncelle
5
Piano Quintette: piano, 2 violons, alto, violoncelle
5
Accordéon
1
Fake Book
1
+ 12 instrumentations
Retracter
Guitares
Guitare
114
Guitare notes et tablatures
43
2 Guitares (duo)
21
4 Guitares (Quatuor)
14
Ukulele
13
Piano, Guitare (duo)
9
Ligne De Mélodie, (Paroles) et Accords
6
3 Guitares (trio)
4
Mandoline, Guitare (duo)
3
Mandoline
3
Ensemble de guitares
2
Ukulele Baryton
1
Mandoline, Piano (duo)
1
2 Ukuleles
1
Ensemble de Ukulélés
1
+ 10 instrumentations
Retracter
Voix
Chorale SATB
101
Voix haute
69
Chorale 3 parties
44
Voix Soprano, Piano
33
Voix Alto, Piano
32
Voix moyenne, Piano
21
Chorale 2 parties
20
Chorale TTBB
13
Voix duo, Piano
9
Chorale SSAA
7
Voix duo
5
Voix seule
5
Voix basse, Piano
2
Voix Tenor
2
Chorale Unison
2
Voix basse
2
Voix Tenor, Piano
1
Chorale SSAB, Piano
1
Voix Baryton, Piano
1
Voix Soprano
1
+ 15 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
192
Quatuor de Saxophones: 4 saxophones
180
Flûte traversière et Piano
173
Clarinette et Piano
158
Flûte, Hautbois, Clarinette, Basson
144
Quintette de Saxophone: 5 saxophones
119
Quatuor de Clarinettes: 4 clarinettes
110
Hautbois, Piano (duo)
101
Saxophone Alto et Piano
92
2 Flûtes traversières (duo)
92
2 Saxophones (duo)
85
Saxophone Tenor et Piano
65
Flûte traversière
62
Clarinette
62
Saxophone Soprano et Piano
58
2 Clarinettes (duo)
50
3 Saxophones (trio)
48
3 Clarinettes (trio)
47
Ensemble de Clarinettes
43
Cor anglais, Piano
38
Quatuor de Flûtes : 4 flûtes
37
Saxophone Alto
34
Saxophone Baryton, Piano
33
Quintette de Clarinettes: 5 clarinettes
31
Ensemble de saxophones
30
Hautbois (partie séparée)
28
Quintette de Flûte : 5 flûtes
27
Flûte, Clarinette (duo)
25
Trio de Flûtes: 3 flûtes
24
2 Flûte à bec (duo)
23
2 Hautbois (duo)
23
Ensemble de Flûtes
23
Ensemble De Flûte à bec
23
Clarinette, Basson (duo)
19
Flûte à bec Soprano
19
Quatuor de Flûtes à bec
18
Clarinette Basse, Piano
17
Flûte, Hautbois, Clarinette (trio)
16
Flûte, Clarinette et Basson
16
Flûte, Hautbois, Basson
16
Hautbois
15
Saxophone Tenor
15
Hautbois, Basson (duo)
15
Flûte, Violoncelle
12
Hautbois, Clarinette, Basson (trio d'anches)
11
Flûte, Violon
10
Flûte à Bec
9
5 Flûtes à bec
9
Flûte et Guitare
9
Flûte à bec Alto
9
Flûte à bec Tenor
8
Flûte, Violon, Piano
8
Saxophone Soprano
7
4 Hautbois
7
Saxophone Baryton
7
Hautbois, Clarinette (duo)
7
3 Flûtes à bec (trio)
6
Clarinette, Guitare (duo)
6
Flûte irlandaise
6
Saxophone (partie séparée)
6
Clarinette, Harpe (duo)
6
2 Clarinettes, Basson
5
Ensemble de Hautbois
5
Flûte, Violon et Violoncelle
5
Flûte, Alto (duo)
5
Clarinette, Violoncelle (duo)
5
Flûte à bec Soprano, Piano
4
2 Flûtes traversières, Piano
4
Flûte, Violoncelle, Piano (trio)
4
Hautbois, Harpe
4
Flûte, Saxophone (duo)
4
Hautbois, Violoncelle
4
Saxophone et Harpe
4
Flûte, Trombone (duo)
4
Cor Anglais
4
Clarinette, Violon (duo)
3
Saxophone, Clarinette (duo)
3
Clarinette, Trompette (duo)
3
2 Clarinettes, Piano
3
Piccolo, Piano
3
Flûte, Trompette (duo)
2
Piccolo
2
Flûte, Hautbois (duo)
2
Flute, Cor (duo)
2
Flûte à bec Alto, Basse continue
2
Clarinette Basse
2
Clarinette, Trombone (duo)
2
Flûte à bec Alto, Piano
2
2 Saxophones, Piano
2
Flûte traversière, Orgue (duo)
2
Flûte à bec, Guitare (duo)
2
Hautbois, Flûte
2
Flûte, Tuba (duo)
1
Flûte et Trio à cordes
1
Ocarina
1
Flûte, Hautbois, Piano (trio)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Cor anglais et Harpe (duo)
1
Cor anglais, Guitare (duo)
1
2 Hautbois, Piano
1
Flûte, Clarinette, Piano (trio)
1
Flute (partie séparée)
1
2 Hautbois et Basson
1
Melodica
1
Saxophone et Guitare
1
2 Flûtes à bec, Guitare
1
2 Cors Anglais Et Pianoforte
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Basson et Piano
1
Clarinette et Alto
1
+ 106 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
169
Trompette, Piano
109
Quatuor de Cuivres : 2 trompettes, trombone, tuba
93
Trombone et Piano
83
Cor et Piano
74
Trompette
57
Ensemble de Trompettes
42
Cor anglais, Piano
38
Trombone
38
Tuba et Piano
37
Ensemble de Trombones
33
Cor
32
Tuba
27
2 Trombones (duo)
27
Euphonium, Piano (duo)
25
2 Trompettes (duo)
25
Quatuor de cuivres: 4 trombones
23
2 Cors (duo)
23
Quatuor de Cuivres: 2 trompettes, Cor, trombone
21
Quatuor de cuivres: 4 cors
15
Trompette, Trombone (duo)
12
Quatuor de Cuivres
11
Quatuor de cuivres: 4 trompettes
11
Ensemble de Cors
9
2 Tubas (duo)
9
4 Tubas
8
3 Tubas (trio)
7
3 Trombones (trio)
6
Trompette, Cor (duo)
6
3 Cors (trio)
5
Trombone, Cor (duo)
4
Tuba et Orgue
4
3 Trompettes (trio)
4
Cor et Harpe
4
Cor Anglais
4
2 Euphoniums et 2 Tubas
3
Cor, Violoncelle (duo)
3
Trompette, Saxophone (duo)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
2 Euphoniums (duo)
3
Trompette, Basson (duo)
2
Trompette, Violoncelle (duo)
2
Cor et Basson (duo)
2
Trombone basse et Piano
2
Trompette, Harpe
2
Cor, Tuba (duo)
1
4 Euphoniums
1
Cor et Orgue
1
Cor anglais et Harpe (duo)
1
Cor anglais, Guitare (duo)
1
2 Cors, Piano
1
2 Cors Anglais Et Pianoforte
1
Euphonium
1
Trompette, Orchestre
1
Trombone, Orgue
1
+ 50 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
341
Violon et Piano
169
Alto, Piano
147
Violoncelle, Piano
143
Violon, Violoncelle (duo)
125
Violon
99
Trio à Cordes: violon, alto, violoncelle
90
Violoncelle
83
2 Violons (duo)
52
Violon, Alto (duo)
48
Harpe
44
Alto seul
37
Contrebasse, Piano (duo)
37
Quintette à cordes: 2 violons, alto, violoncelle, basse
36
2 Violoncelles (duo)
32
Trio à Cordes: 2 violons, violoncelle
28
2 Altos (duo)
26
2 Harpes (duo)
24
Contre Basse
17
Alto, Violoncelle (duo)
17
Ensemble d'Altos
13
Ensemble de Violons
12
Trio à cordes: 3 altos
12
Trio à Cordes: 3 violoncelles
12
Trio à cordes: 3 violins
11
Alto (partie séparée)
11
Quatuor à cordes: 4 violons
10
4 Violoncelles
10
Harpe, Flûte (duo)
9
Quatuor à cordes : 4 altos
7
Violon, Guitare (duo)
7
Violon, Basson (duo)
6
Harpe, Violon (duo)
5
Alto, Guitare (duo)
5
Trio à Cordes: 2 violons, alto
4
Harpe, Violoncelle (duo)
4
Violoncelle , Guitare (duo)
4
4 Contrebasses
4
2 Contrebasses (duo)
4
Violoncelle, Orgue
3
Violon, Orgue
3
Alto et Basson
2
2 Altos, Piano
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Ensemble de Violoncelles
2
Harpe, Violon, Violoncelle
2
Alto et Harpe
2
Violoncelle, Contrebasse (duo)
1
Violoncelle, Basse continue
1
Harpe, Trombone (duo)
1
Violon, Tuba (duo)
1
+ 46 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
145
Ensemble de cuivres
132
Orchestre de chambre
66
Orchestre d'harmonie
42
Orchestre
36
Cloches
16
Ensemble Jazz
9
Xylophone, Piano
6
Ensemble de Percussions
5
Vibraphone
3
Marimba
2
Xylophone
2
2 Xylophones
1
Quintette de Cuivres: autres combinaisons
1
Quintette à Vent
1
+ 10 instrumentations
Retracter
Autres
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Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
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BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
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PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
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VIBRAPHONE
VIELLE A RO…
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VIOLON
VIOLONCELLE
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TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
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CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
It Baroque
Orchestre
Partitions à imprimer
36 partitions trouvées
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1
26
Ode To Joy for School Orchestra
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Orchestre
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DÉBUTANT
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Classique
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Antonio Vivaldi, Edvard Grie
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David Burndrett
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Ode To Joy for School Orchestr
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SheetMusicPlus
Composed by Antonio Vivaldi, Edvard Grieg. Arranged by David Burndrett. Baroque, Romantic Period. Individual part. 23 pages. David Burndrett #4278147....
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Composed by Antonio Vivaldi, Edvard Grieg. Arranged by David Burndrett. Baroque, Romantic Period. Individual part. 23 pages. David Burndrett #4278147. Published by David Burndrett
No.1 Autumn from The Four seaComposed by Ludwig van Beethoven (1770-1827). Arranged by David Burndrett. Classical. Score and parts. 20 pages. David Burndrett #4287037. Published by David Burndrett sons (first movement)
No.2 In the Hall of the Mountain King
I have arranged these pieces so that it can be played by grade three standard players upwards!
I have added an optional piano part.
Download includes the score and all of the parts.
$12.95
Sinfonietta No.1 (Transformations) for Orchestra
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Orchestre
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INTERMÉDIAIRE
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Scott Markle
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Sinfonietta No.1
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MarcoPolo Press
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1021047 Composed by Scott Markle. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 122 p...
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Full Orchestra - Level 3 - SKU: A0.1021047 Composed by Scott Markle. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 122 pages. MarcoPolo Press #5755357. Published by MarcoPolo Press (A0.1021047). Sinfonietta No.1 (Transformations) is an intermediate orchestral pieces in four movements that is almost 10 minutes (9:53) long. It is called a sinfonietta because, while it has the elements of a full symphony, it is shorter. The entire piece is based on the motif in the first bar of the first movement, and that motif get transformed (hence the subtitle Transformations) in many different ways. It is like how a person changes in various situations and in various stages of their life. The first movement (Allegretto) is in sonata form, the second (Andante Adagio) is in a quasi ABA form, the third (Scherzoish) is a Baroque-like quasi scherzo and trio with a modified scherzo at the end, and the fourth (Theme & Variations) is a theme with 3 variations, but elements of the first 3 movements are repeated at the end. .
$40.00
"Te Deum", op. 5 - Score Only
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Adrian Gagiu
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Adrian Gagiu
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"Te Deum", op. 5 - S
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1203852 By Adrian Gagiu. By Adrian Gagiu. Arranged by Adrian Gagiu. 20th Century,Baroque,Christian,Classical,Sacred. ...
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Full Orchestra - Level 4 - SKU: A0.1203852 By Adrian Gagiu. By Adrian Gagiu. Arranged by Adrian Gagiu. 20th Century,Baroque,Christian,Classical,Sacred. 133 pages. Adrian Gagiu #802408. Published by Adrian Gagiu (A0.1203852). Neo-Baroque, medium-sized, large scale composition for 4 vocal soloists, mixed chorus in 4 to 8 parts, and full orchestra with organ, setting the traditional canticle text, mostly with church modes and alternating polyphonic intricacies with solemn, intense or profound moments. It would work both for worship and in concert, as it includes powerful outbursts, elaborate counterpoint, and also soft and humble moments, while avoiding any harsh excesses of modernism. Total duration: 46 min. Performing Rights Organization: SOCAN. The audio sample is the 5th movement. The first two choruses, in 4 parts, follow the general outline of the Baroque French overture: a solemn introduction followed by an elaborate fugue. The 3rd movement is a solemn arioso for bass, followed by a grand chorus in 4 and 5 parts. The 4th movement is an arioso for tenor, followed by a complex chorus in 5 parts. The 5th movement is a suite of two ariosos for alto and soprano, followed by a grand, but brief chorus in 6 parts, and then by a mysterious instrumental evocation of the Last Judgment. The 6th movement is a vocal quartet a cappella, based on a well-known Orthodox hymn and alternated with a refrain for chorus in 7 parts and organ, then followed by a grand choral complex ended in humble supplication. The final, 7th movement is a grand motet for double chorus and orchestra, with four themes more and more intricately combined, up to the majestic coda treated in quadruple counterpoint.
$50.00
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Symphony No. 6 ... The Penobsc
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149...
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Full Orchestra - Level 4 - 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
Concerto for Orchestra, opus 111 (2005, rev. 2010)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Concerto for Orchestra, opus 1
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 ...
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Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 pages. Thomas Oboe Lee #15869. Published by Thomas Oboe Lee (A0.869351). Instrumentation: 3232-4331-timp-2perc-strings. When I received the invitation from Jonathan Cohler to write a Concerto for Orchestra for the Brockton Symphony, I immediately thought of all the composers who wrote works inspired by Bartok’s seminal work of the same title: Roger Sessions, Elliott Carter, Michael Tippett, Witold Lutoslawski, Joan Tower and, most recently, Jennifer Higdon. My Concerto for Orchestra, opus 111, is in five movements. It will be heard without pause between movements. I. Largo … Misterioso! II. Allegro con moto … Evidence!!! III. Adagio … Epistrophy! IV. Andante … In Walked Bud! V. Presto … Rhythm-a-ning!!! My initial idea for the Concerto was contrast - contrast between the timbres and colors that the various sections in an orchestra provide. For example, the woodwinds would provide a sharp contrast against the brass; the percussion section against the strings, etc. I also was interested in writing a work where each movement would flow into the next without pause – thus providing another form of contrast, that of tempi and mood change. A third form of contrast would be the different styles and forms of music that I would come up with. And I had a lot of fun conjuring up the many possible scenarios and orchestral tableaux. I actually started with the second movement: the Allegro con moto. I wanted something that had a nice surging quality that the whole orchestra could jump into. When I finished that, I thought perhaps it would be too intense for the opening of the work. I thought, maybe I should begin with something slower, more brooding in nature before the explosive stuff. I noticed that Carter’s Concerto began with a slow Introduction. It had a title: Misterioso. Being an avid fan of Thelonious Monk, aka Thelonious Sphere Monk, Misterioso brought to mind a Monk composition of the same title. That epiphany gave me the idea of naming each of the five movements after a Monk tune. Monk’s Misterioso is a blues with an insistent theme of 8th note patterns of rising 6ths; which has nothing to do with my first movement. My Misterioso features a solo for the bass clarinet in the midst of a shimmering atmosphere that is punctuated by accents in the bass. They are both mysterious, but divergently opposed in mood and substance. Monk’s Evidence is a tune with jabs and punches, irregularly placed within the measure – not unlike what I did in the second movement. This movement is perhaps the most Monk-ish of all. Monk’s Epistrophy is a tune constructed with a four-note pattern that is angular and twisted. I wrote a solemn brass choir movement that is an epistle in nature, a sermon of sorts. The title of Monk’s In Walked Bud refers, of course, to the amazing pianist Bud Powell. I took the word walk and translated it into an andante. What resulted was a silly, but jolly movement featuring the woodwinds. I wanted to end the work with a fast and furious finale. Inspired by the word rhythm in Monk’s Rhythm-a-ning, I began the last movement with a solo for the percussion section – timpani, tom-toms, bass drum!!! The orchestra eventually joins in the mayhem, breaking into a scherzo-like frenzy. It ends with a big bang!!! Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/concerto-for-orchestra-opus-111-2005
$9.99
Rosary Sonatas: The Crucifixion
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Orchestre
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AVANCÉ
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Crucifixio
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1081697 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Easter,Sacred. Score a...
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Full Orchestra - Level 5 - SKU: A0.1081697 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Easter,Sacred. Score and parts. 95 pages. JMJ Arrangements #685818. Published by JMJ Arrangements (A0.1081697). [S]tanding by the cross of Jesus were his mother, and his mother’s sister, Mary the wife of Clopas, and Mary Magdalene. When Jesus saw his mother, and the disciple whom he loved standing near, he said to his mother, 'Woman, behold, your son!' Then he said to the disciple, 'Behold, your mother!' And from that hour the disciple took her to his own home. After this Jesus, knowing that all was now finished, said (to fulfil the scripture), 'I thirst.' A bowl full of vinegar stood there; so they put a sponge full of the vinegar on hyssop and held it to his mouth. When Jesus had received the vinegar, he said, 'It is finished'; and he bowed his head and gave up his spirit. Since it was the day of Preparation, in order to prevent the bodies from remaining on the cross on the sabbath (for that sabbath was a high day), the Jews asked Pilate that their legs might be broken, and that they might be taken away. So the soldiers came and broke the legs of the first, and of the other who had been crucified with him; but when they came to Jesus and saw that he was already dead, they did not break his legs. But one of the soldiers pierced his side with a spear, and at once there came out blood and water. He who saw it has borne witness—his testimony is true, and he knows that he tells the truth—that you also may believe. For these things took place that the scripture might be fulfilled, 'Not a bone of him shall be broken.' And again another scripture says, 'They shall look on him whom they have pierced.' --John 19:25-37.
$34.99
Concerto for Trumpet and Orchestra (2014)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Concerto for Trumpet and Orche
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869350 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 82 ...
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Full Orchestra - Level 4 - SKU: A0.869350 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 82 pages. Thomas Oboe Lee #14827. Published by Thomas Oboe Lee (A0.869350). Instrumentation: trumpet solo and 2222-4231-timp-2perc-strings. Over the years I have written at least ten orchestral works for Max Hobart including three symphonies and four concertos for saxophone, violin, oboe and cello, respectively. So I was thrilled when Max asked me to write a concerto for trumpet virtuoso Stephen Burns and the Boston Civic Symphony Orchestra. I am familiar with Stephen Burns’ work as a piccolo trumpet player doing concertos from the baroque period. The color of his sound was already in my head. Stephen and I got together in the spring of 2104 and we discussed the project in some detail. We immediately agreed that the work would be in three movements. Each movement would feature a different trumpet: the trumpet in C for the first, the flugelhorn for the second and the piccolo for the last. I began work on the concerto at the end of August and finished it three months later. The work as mentioned earlier is in three movements: 1. Heraldic Beast … Allegro. 2. Bossa Nova in 7/4 … Adagio. 3. Perpetuo Moto … Presto! Enjoy!!!
$9.99
The Prince of Denmark's March (Trumpet Voluntary)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Jeremiah Clarke
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Jim Hopson
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The Prince of Denmark's March
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Phonos Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1164156 Composed by Jeremiah Clarke. Arranged by Jim Hopson. Baroque,Classical,Historic,March,Wedding. Score and Part...
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Full Orchestra - Level 4 - SKU: A0.1164156 Composed by Jeremiah Clarke. Arranged by Jim Hopson. Baroque,Classical,Historic,March,Wedding. Score and Parts. 43 pages. Phonos Music #764501. Published by Phonos Music (A0.1164156). Commonly known as ‘Trumpet Voluntary’, ‘The Prince of Denmark’s March’ is English baroque composer Jeremiah Clarke’s most celebrated work. Commonly played and wedding and commencement ceremonies, this iconic piece has been featured in countless movies, television programmes, and popular music releases. It is arranged here for full symphony orchestra (2222-4231, timp, perc, harp, piano, strings), featuring two trumpets in D (commonly played on A piccolo trumpet) set against a lush and regal backdrop of strings and winds. We believe this arrangement to be the definitive modern orchestration of this piece, using the full tonal palette of the modern symphony orchestra to create an air of majesty and excitement.
$60.00
Bach Harpsichord Concerto no. 2 in E major, BWV 1053
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Orchestre
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Johann Sebastian Bach
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Bach Harpsichord Concerto no.
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Gabriel Vinicius
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1101547 By Johann Sebastian Bach. By Johann Sebastian Bach (1685-1750)j. Arranged by Johann Sebastian Bach. Baroque,C...
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Full Orchestra - Level 5 - SKU: A0.1101547 By Johann Sebastian Bach. By Johann Sebastian Bach (1685-1750)j. Arranged by Johann Sebastian Bach. Baroque,Classical,Instructional,Multicultural,World. Score and parts. 15 pages. Gabriel Vinicius #704925. Published by Gabriel Vinicius (A0.1101547). Johann Sebastian Bach wrote his Harpsichord Concerto no. 2 in E, BWV 1053 in 1738, and it was published in 1854 in Leipzig by C.F. Peters. This concerto is thought to be based on a concerto for a wind instrument, probably oboe or oboe d'amore, and from stylistic considerations, it may have dated from Bach's time in Leipzig. It exists, like BWV 1052, in a later transcription in his cantatas Gott soll allein mein Herze haben, BWV 169, and Ich geh und Suche mit Verlangen, BWV 49, from which further inferences can be made about the original concerto. Bach changed his method of arrangement with this work, significantly altering the ripieno parts from the original concerto for the first time, limiting much more to the tutti sections. The lower string parts were much reduced in scope, allowing the harpsichord bass to be more prominent, and the upper strings were likewise modified to allow the harpsichord to be at the forefront of the texture. A standard rendition of the piece lasts 19 minutes. The work calls for two violins, a viola, and a continuo section, besides the solo harpsichord.
$5.00
Missa Solemnis, op. 27 - Score Only
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published ...
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Full Orchestra - Level 5 - 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
Rosary Sonatas: The Nativity
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Orchestre
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INTERMÉDIAIRE
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Nativity
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1081583 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Christmas,Classical,Sacred. Scor...
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Full Orchestra - Level 3 - SKU: A0.1081583 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Christmas,Classical,Sacred. Score and parts. 46 pages. JMJ Arrangements #685705. Published by JMJ Arrangements (A0.1081583). [W]hile [Joseph and Mary] were there, the time came for her to be delivered. And she gave birth to her first-born son and wrapped him in swaddling cloths, and laid him in a manger, because there was no place for them in the inn. And in that region there were shepherds out in the field, keeping watch over their flock by night. And an angel of the Lord appeared to them, and the glory of the Lord shone around them, and they were filled with fear. And the angel said to them, 'Be not afraid; for behold, I bring you good news of a great joy which will come to all the people; for to you is born this day in the city of David a Savior, who is Christ the Lord. And this will be a sign for you: you will find a babe wrapped in swaddling cloths and lying in a manger.' And suddenly there was with the angel a multitude of the heavenly host praising God and saying, 'Glory to God in the highest, and on earth peace among men with whom he is pleased!' When the angels went away from them into heaven, the shepherds said to one another, 'Let us go over to Bethlehem and see this thing that has happened, which the Lord has made known to us.' And they went with haste, and found Mary and Joseph, and the babe lying in a manger. And when they saw it they made known the saying which had been told them concerning this child; and all who heard it wondered at what the shepherds told them. But Mary kept all these things, pondering them in her heart. And the shepherds returned, glorifying and praising God for all they had heard and seen, as it had been told them. (Luke 2:6-20 RSV-CE).
$34.99
Sarabande - (from 'Keyboard Suite in D minor' - III. Mov.) for Orchestra
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Orchestre
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INTERMÉDIAIRE
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George Frideric Handel
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Flavio Regis Cunha
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Sarabande -
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Flavio Regis Cunha
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.597316 By George Frideric Handel. By George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,F...
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Full Orchestra - Level 3 - SKU: A0.597316 By George Frideric Handel. By George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and Parts. 15 pages. Flavio Regis Cunha #5355195. Published by Flavio Regis Cunha (A0.597316). The Keyboard suite in D minor (HWV 437) was composed by George Frideric Händel, for solo keyboard (harpsichord), between 1703 and 1706. It is also referred to as Suite de pièce Vol. 2 No. 4. It was first published in 1733.The piece was used in an orchestral arrangement for Stanley Kubrick's Barry Lyndon. Dutch singer Petra Berger used the Sarabande as the musical setting for her song about Mary, Queen of Scots, Still a Queen (In My End Is My Beginning), from her album Eternal Woman (2001). An orchestral version was also used on the first episode of the 2018 television mini-series of Agatha Christie's A.B.C. Murders, starring John Malkovich as Poirot.This beautiful arrangement for orchestra brings in its variations, an intercalation of orchestral forces and different climaxes. The first part of the theme starts on the strings accompanied by the continuum. The second part includes the metals and the tympani. In the first variation, the theme is played by a group of strings, within a chamber proposal. In the third variation, the strings give way to the woodwinds, where horns, trombones talk to the woodwinds. In the fourth variation, the same group of winds remains, but they are accompanied by the ow strings. Finally, in the last variation, the orchestral force appears with brilliance and intensity.
$19.99
Rosary Sonatas: The Presentation
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Presentati
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1081594 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and part...
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Full Orchestra - Level 4 - SKU: A0.1081594 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 79 pages. JMJ Arrangements #685710. Published by JMJ Arrangements (A0.1081594). [W]hen the time came for their purification according to the law of Moses, they brought him up to Jerusalem to present him to the Lord (as it is written in the law of the Lord, 'Every male that opens the womb shall be called holy to the Lord') and to offer a sacrifice according to what is said in the law of the Lord, 'a pair of turtledoves, or two young pigeons.' Now there was a man in Jerusalem, whose name was Simeon, and this man was righteous and devout, looking for the consolation of Israel, and the Holy Spirit was upon him. And it had been revealed to him by the Holy Spirit that he should not see death before he had seen the Lord’s Christ. And inspired by the Spirit he came into the temple; and when the parents brought in the child Jesus, to do for him according to the custom of the law, he took him up in his arms and blessed God and said, 'Lord, now lettest thou thy servant depart in peace, according to thy word; for mine eyes have seen thy salvation which thou hast prepared in the presence of all peoples, a light for revelation to the Gentiles, and for glory to thy people Israel.' And his father and his mother marveled at what was said about him; and Simeon blessed them and said to Mary his mother, 'Behold, this child is set for the fall and rising of many in Israel, and for a sign that is spoken against (and a sword will pierce through your own soul also), that thoughts out of many hearts may be revealed.' ... And when they had performed everything according to the law of the Lord, they returned into Galilee, to their own city, Nazareth. And the child grew and became strong, filled with wisdom; and the favor of God was upon him. (Luke 2:22-35, 39-40 RSV-CE).
$19.99
Rosary Sonatas: The Finding of the Child Jesus in the Temple
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Finding of
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1081597 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and part...
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Full Orchestra - Level 4 - SKU: A0.1081597 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 48 pages. JMJ Arrangements #685713. Published by JMJ Arrangements (A0.1081597). Now his parents went to Jerusalem every year at the feast of the Passover. And when he was twelve years old, they went up according to custom; and when the feast was ended, as they were returning, the boy Jesus stayed behind in Jerusalem. His parents did not know it, but supposing him to be in the company they went a day’s journey, and they sought him among their kinsfolk and acquaintances; and when they did not find him, they returned to Jerusalem, seeking him. After three days they found him in the temple, sitting among the teachers, listening to them and asking them questions; and all who heard him were amazed at his understanding and his answers. And when they saw him they were astonished; and his mother said to him, 'Son, why have you treated us so? Behold, your father and I have been looking for you anxiously.' And he said to them, 'How is it that you sought me? Did you not know that I must be in my Father’s house?' And they did not understand the saying which he spoke to them. And he went down with them and came to Nazareth, and was obedient to them; and his mother kept all these things in her heart. And Jesus increased in wisdom and in stature, and in favor with God and man. (Luke 2:41-52, RSV-CE).
$19.99
Rosary Sonatas: The Descent of the Holy Spirit
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Orchestre
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AVANCÉ
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Descent of
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1081709 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and part...
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Full Orchestra - Level 5 - SKU: A0.1081709 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 78 pages. JMJ Arrangements #685832. Published by JMJ Arrangements (A0.1081709). When the day of Pentecost had come, they were all together in one place. And suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit and began to speak in other tongues, as the Spirit gave them utterance. Now there were dwelling in Jerusalem Jews, devout men from every nation under heaven. And at this sound the multitude came together, and they were bewildered, because each one heard them speaking in his own language. And they were amazed and wondered, saying, 'Are not all these who are speaking Galileans? And how is it that we hear, each of us in his own native language? Par′thians and Medes and E′lamites and residents of Mesopota′mia, Judea and Cappado′cia, Pontus and Asia, Phryg′ia and Pamphyl′ia, Egypt and the parts of Libya belonging to Cyre′ne, and visitors from Rome, both Jews and proselytes, Cretans and Arabians, we hear them telling in our own tongues the mighty works of God.'†--Acts 2:1-11 (RSV-CE).
$19.99
Stranger On The Shore
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Orchestre
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FACILE
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Acker Bilk
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Paul Hemmer
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Stranger On The Shore
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PJMS MUSIC
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SheetMusicPlus
Full Orchestra - Level 2 - SKU: A0.947096 By Acker Bilk. By Acker Bilk and Robert Mellin. Arranged by Paul Hemmer. 20th Century,Baroque,Pop. Score and p...
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Full Orchestra - Level 2 - SKU: A0.947096 By Acker Bilk. By Acker Bilk and Robert Mellin. Arranged by Paul Hemmer. 20th Century,Baroque,Pop. Score and parts. 35 pages. PJMS MUSIC #552827. Published by PJMS MUSIC (A0.947096). This #1 hit for Acker Bilk is scored for clarinet solo with full orchestra. While retaining many of the figures and characteristics of the original recording, it expands to make use of the full orchestra. Solo passages for oboe and french horn enhance the original. It will be a popular addition to any pops concert.
$70.00
Rosary Sonatas: The Resurrection
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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for it was very large
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Rosary Sonatas: The Resurrecti
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1081705 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Easter,Sacred. Score a...
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Full Orchestra - Level 4 - SKU: A0.1081705 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Easter,Sacred. Score and parts. 151 pages. JMJ Arrangements #685830. Published by JMJ Arrangements (A0.1081705). [W]hen the sabbath was past, Mary Magdalene, and Mary the mother of James, and Salome, bought spices, so that they might go and anoint him. And very early on the first day of the week they went to the tomb when the sun had risen. And they were saying to one another, 'Who will roll away the stone for us from the door of the tomb?' And looking up, they saw that the stone was rolled back; for it was very large. And entering the tomb, they saw a young man sitting on the right side, dressed in a white robe; and they were amazed. And he said to them, 'Do not be amazed; you seek Jesus of Nazareth, who was crucified. He has risen, he is not here; see the place where they laid him. But go, tell his disciples and Peter that he is going before you to Galilee; there you will see him, as he told you.' And they went out and fled from the tomb; for trembling and astonishment had come upon them; and they said nothing to any one, for they were afraid. Now when [Christ] rose early on the first day of the week, he appeared first to Mary Magdalene, from whom he had cast out seven demons. She went out and told those who had been with him, as they mourned and wept. But when they heard that he was alive and had been seen by her, they would not believe it.Mark 16:1-11 (RSV-CE).
$39.99
Symphony No. 2 ... A Phantasmagorey Ballet (1998)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Symphony No. 2 ... A Phantasma
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869368 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 126...
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Full Orchestra - Level 4 - SKU: A0.869368 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 126 pages. Thomas Oboe Lee #33643. Published by Thomas Oboe Lee (A0.869368). Instrumentation: 3232-4331-timp-2perc-pf-hp-strings. Program note. Nineteen ninety-eight marks the tenth anniversary of my plunge into the world of ballet. I continue to take classes three or four times a week. It's fun, athletic, and challenging. And I'm still working on the basic notion of spotting in my pirouettes ... So when Max Hobart of the Civic Symphony Orchestra of Boston agreed to premiere a new work of mine I knew it had to be a symphonic ballet. Coincidentally, I discovered that my favorite cartoonist, Edward Gorey, is also a balletomane. He lived in New York City between 1953 and 1986 and never missed a single performance of the New York City Ballet. Apparently his leaving New York to live permanently on Cape Cod was prompted by the death of George Balanchine in 1983. Among Edward Gorey's many books there is one, The Gilded Bat, about a young woman, Maud Splaytoe, and her adventures in the ballet world. She dies in the end when the plane she is in flies into a great, dark bird. Hmmm, I thought, The Gilded Bat would make a nice adagio movement. To complete the work, I found four other Gorey books that attracted me in mood and texture: The Nursery Frieze - dogs running across the edge of a nursery ceiling, barking out words whose sequence provides no sense or meaning, e.g., Archipelago, cardamon, obloquy, ignavia, samisen, bandages, wax, Gavelkind, ... ; The Raging Tide - a fantastical story about four creatures, Figbash, Hooglyboo, Naeelah and Skrump, who would not stop abusing each other; The Utter Zoo - an alphabet book of zoo animals of Edward Gorey's concoction, e.g., Ampoo, Boggerslosh, Crunk, Dawbis, Epitwee, ... ; and The Blue Aspic - a macabre story of a mad fan, Jasper Ankle, who stalks an opera diva, Ortenzia Caviglia. When he finally meets her at the stage-door after a performance, he stabs her in the throat and cries, J'ai trouvé Hortense! Symphony No. 2 ... A Phantasmagorey Ballet is in five movements: I. The Nursery Frieze, Con moto. II. The Gilded Bat Adagio: Pas seul for Mirella Splatova, aka Maud SplaytoeIII. The Raging Tide Presto: Pas de Quatre for Figbash, Hooglyboo, Naeelah and Skrump. IV. The Blue Aspic Allegro: Valzer alla Prokofiev ... Pas de deux for Jasper Ankle and Ortenzia Caviglia. V. The Utter Zoo Largo: Grand Funk Finale. This work is dedicated to my wife, Kristin Beckwith, whom I met ten years ago at the Boston Ballet, and who continues to be my one and only ballet teacher.Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-2-a-phantasmagorey-ballet-1998
$9.99
Symphony No. 7 ... Roman Holidays (2008, rev. 2013)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Symphony No. 7 ... Roman Holid
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. Wit...
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Full Orchestra - Level 4 - SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons. 153 pages. Thomas Oboe Lee #3895. Published by Thomas Oboe Lee (A0.869183). Instrumentation: 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French Horns in F 2 Trumpets in Bb 3 Trombones Tuba TimpaniPercussion 1: triangle, claves, tom-toms, cow-bells Percussion 2: snare drum, bass drum 1st Violin 2nd Violin Viola Cello Double bass This is a transposed score. Program note: My love affair with the city of Rome dates back to the year 1986-87 when I spent just under eleven months at the American Academy in Rome on a Rome Prize Fellowship. During that Fellowship year I was very much inspired by the beauty and culture of the Eternal City, which resulted in a number of works that continue to resonate with me: Twenty-nine Fireflies Book II for solo piano; Concertino for trumpet, timpani and strings; Apples … six dreams by Richard Kenney; String Quartet No 5 … Four Birthdays; and Chôrinhos … opus 38. Since 1997 my wife, Kristin Beckwith, and I have returned to the American Academy in Rome almost every year. I would compose in the morning and then my wife and I would go to our usual haunt at Bar G. for cappuccini and cornetti. And then we’d go to the local bakery and street markets and buy stuff for lunch. In the afternoon we would wander into the city to go shopping and sight-seeing. In the evenings we would dine at one of our favorite local trattorias. Life could not be better in Rome. Musically speaking, several important works in my portfolio had their beginnings during these sojourns at the Academy , among them Yo Picasso, Flauta Carioca, Mass for the Holy Year 2000, Symphony No. 5 … Utopia Parkway, Twenty-nine Fireflies Books IV & V, and Piano Concerto … Mozartiana. Just before the 2008 recession, clarinetist extraordinaire Jonathan Cohler asked me to write a symphony for the inaugural concert of a new orchestra he was planning to create. I came up with Symphony No. 7 … Roman Holidays, my give back to the city of Rome – a compendium of favorite places that continue to live in my thoughts and musings. Although the work is heard in four movements, it is actually divided into seven sections, as in the seven hills of Rome. 1. Prelude: Fontana Paola and the panoramic view of the city of Rome from that vantage point. 2. First interlude: La Befana festivities at Piazza Navona. The Protestant Cemetery in Testaccio at night under a full moon. 3. Second interlude: Fontana delle Tartughe in the Jewish Ghetto. Bernini’s Apollo and Daphne at the Galleria Borghese. 4. Third interlude: Bernini’s Beata Ludovica Albertoni in Trastevere. The Spanish Steps and the view of Rome from the French Academy at Villa Medici. NB: Unfortunately, thanks to the recession, Roman Holidays never saw the light of day. This year (2013) I decided to revisit the work, which lay dormant for 5 five years, and saw that it could use a little tweaking. The new version is essentially the same, musically speaking. I reduced the orchestration a bit (two horns instead of four, and two trumpets instead of three) and added more heft to the lower brass. I completely rewrote the tune for the floating foreign ghosts at the Protestant Cemetery. I also shortened the work by about three minutes by cutting some repeats. Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-7-roman-holidays-2008-rev-2013Video link: https://youtu.be/1DlzEOUmH54
$9.99
CH075ORC - Dance in the wildflower fields - Folk
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Orchestre
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Carl Van Pevenage
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CH075ORC - Dance in the wildfl
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Carl Van Pevenage
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SheetMusicPlus
Full Orchestra - SKU: A0.921177 Composed by Carl Van Pevenage. Baroque,Folk,World. Score and parts. 17 pages. Carl Van Pevenage #3011961. Published by C...
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Full Orchestra - SKU: A0.921177 Composed by Carl Van Pevenage. Baroque,Folk,World. Score and parts. 17 pages. Carl Van Pevenage #3011961. Published by Carl Van Pevenage (A0.921177). The chansonnettes are easy songs of different styles (folk, classical, pop, romantic, Christmas carols, etc). They are arranged for Recorder or String Quartets, but can easily be arranged for any group of players. This is an example of what can be done with the songs. It's an arrangement of Chansonnette 075 for a small orchestra and guitar The sounds are still computer generated. Playing it, will bring the music to live.
$9.95
HALLELUJAH - Chorus (From Messiah-HWV-56)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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GEORGE FRIEDERICH HANDEL
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Isaiah Castro
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HALLELUJAH - Chorus
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Maestro Castro Publishing
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1515197 Composed by GEORGE FRIEDERICH HANDEL. Arranged by Isaiah Castro. Baroque,Christmas,Classical,Holiday,Religiou...
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Full Orchestra - Level 4 - SKU: A0.1515197 Composed by GEORGE FRIEDERICH HANDEL. Arranged by Isaiah Castro. Baroque,Christmas,Classical,Holiday,Religious. 64 pages. Maestro Castro Publishing #1089689. Published by Maestro Castro Publishing (A0.1515197). This version of Handel's famed HALLELUJAH - chorus has been edited and adapted from the Ebenezer Prout edition to include optional instrumental parts that are typically present in large orchestras used in holiday concerts. Such as piccolo, bass clarinet, contrabass clarinet (not in the score, it is the same part as contrabassoon) contrabassoon, piccolo trumpet in A, tuba, harp, and harpsichord.Instrumentation:Piccolo (optional)2 Flutes2 Oboes2 Clarinets in B-flatBass Clarinet (optional)2 BassoonsContrabassoon (optional)2 Horns in FPiccolo Trumpet in A (optional)2 Trumpets in C3 Trombones (Alto, Tenor, Bass)Tuba (optional)Timpani (2 drums)Harp (optional)Harpsichord (optional)OrganSATB ChorusStringsPage Sizes:Score: Tabloid - 11x17Parts: Concert - 9x12Choral Score: Octavo - 6.75x10.5
$79.99
Ave Maria (Bach/Gounod)
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Orchestre
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FACILE
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Charles Francois Gounod and Jo
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Nuno Figueiredo
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Ave Maria
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Nuno Figueiredo
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SheetMusicPlus
Full Orchestra - Level 2 - SKU: A0.1518777 Composed by Charles Francois Gounod and Johann Sebastian Bach. Arranged by Nuno Figueiredo. Baroque,Christmas...
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Full Orchestra - Level 2 - SKU: A0.1518777 Composed by Charles Francois Gounod and Johann Sebastian Bach. Arranged by Nuno Figueiredo. Baroque,Christmas,Opera,Religious,Singer/Songwriter. 51 pages. Nuno Figueiredo #1092900. Published by Nuno Figueiredo (A0.1518777). Version of Ave Maria for symphony orchestra (simple) with flexible winds. The piece has been transposed and orchestrated in such a way that any of these singers (alto or soprano) can perform it without the need to master very high vocal registers.Instrumentation (flexible / transpositions)WindsFlute 1Flute 2 (or oboe)Oboe (clarinet in Eb or soprano saxophone)Clarinet in Bb1Clarinet in Bb2Alto Saxophone 1Alto Saxophone 2Bassoon (tenor saxophone or euphonium, bass & treble clef)BrassTrumpet in Bb1Trumpet in Bb2Horn in F1 (or euphonium, bass & treble clef)Horn in F2 (or euphonium, bass & treble clef)Trombone 1Trombone 2Tuba (bass & treble clef)PianoPercussion (Timpani, Wind Chimes and Cymbals)StringsViolin 1Violin 2Viola (or Violin 3)VioloncelloContrabass.
$89.99
Where'er You Walk (string parts and continuo) for use with singer.
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Orchestre
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INTERMÉDIAIRE
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Classique
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George Frideric Handel
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Pam Moutoussi
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Where'er You Walk
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Pamela Moutoussi
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.847034 Composed by George Frideric Handel. Arranged by Pam Moutoussi. Baroque,Concert,Wedding. Score and parts. 9 pag...
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Full Orchestra - Level 3 - SKU: A0.847034 Composed by George Frideric Handel. Arranged by Pam Moutoussi. Baroque,Concert,Wedding. Score and parts. 9 pages. Pamela Moutoussi #3499605. Published by Pamela Moutoussi (A0.847034). I could not find the string parts to this famous and beautiful piece without ordering the whole Opera so here they are, with my own keyboard realization. I have not added the vocal part as this is very easy to get hold of, but you do need the singer, it wont work without! https://www.youtube.com/watch?v=BYOZnwQQV18
$5.00
Agitate
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Joe Wiedemann
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Agitate
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Joe Wiedemann
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1011584 Composed by Joe Wiedemann. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 181 ...
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Full Orchestra - Level 4 - SKU: A0.1011584 Composed by Joe Wiedemann. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 181 pages. Joe Wiedemann #3416427. Published by Joe Wiedemann (A0.1011584). Each instrument section here has a chance to stir the pot. A real lesson in articulation, this moody piece offers challenging parts for talented orchestras. Lively tremelos and staccatos generate agitation, contrasted by slow and sometimes ominous, foreboding melodies. It makes a good show-starter before more standard repertoire.Duration 8:20Scored for: Piccolo, Flutes I-II, Oboes I-II, Clarinets I-II alt. Bass Cl., Bassoons, Horns in F I-II, Trumpets I-II, Trombones I-II, Tuba, Snare Drum, Cymbals, 3 Timpani, Violins I-II, Violas, Cellos, Contrabass
$19.99
Rosary Sonatas: The Annunciation
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Annunciati
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1081578 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and part...
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Full Orchestra - Level 4 - SKU: A0.1081578 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 57 pages. JMJ Arrangements #685700. Published by JMJ Arrangements (A0.1081578). In the sixth month the angel Gabriel was sent from God to a city of Galilee named Nazareth, to a virgin betrothed to a man whose name was Joseph, of the house of David; and the virgin’s name was Mary. And he came to her and said, 'Hail, full of grace, the Lord is with you!' But she was greatly troubled at the saying, and considered in her mind what sort of greeting this might be. And the angel said to her, 'Do not be afraid, Mary, for you have found favor with God. And behold, you will conceive in your womb and bear a son, and you shall call his name Jesus. He will be great, and will be called the Son of the Most High; and the Lord God will give to him the throne of his father David, and he will reign over the house of Jacob for ever; and of his kingdom there will be no end.' And Mary said to the angel, 'How can this be, since I have no husband?' And the angel said to her, 'The Holy Spirit will come upon you, and the power of the Most High will overshadow you; therefore the child to be born will be called holy, the Son of God. And behold, your kinswoman Elizabeth in her old age has also conceived a son; and this is the sixth month with her who was called barren. For with God nothing will be impossible.' And Mary said, 'Behold, I am the handmaid of the Lord; let it be to me according to your word.' And the angel departed from her. (Luke 1:26-38 RSV-CE).
$19.99
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