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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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CORNET
DEEJAY
DIDGERIDOO
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FLUTE TRAVERSI…
FORMATION MUSI…
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OCARINA
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Like as a Father
Non classifié
89
Piano & claviers
Piano seul
38
Piano, Voix
25
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13
Piano Facile
3
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2
Piano Trio: piano, violon, violoncelle
2
Orgue
2
Piano Quatuor: piano, violon, alto, violoncelle
2
1 Piano, 4 mains
1
Piano (partie séparée)
1
Accompagnement Piano
1
+ 6 instrumentations
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Guitares
Guitare
2
Piano, Guitare (duo)
1
2 Guitares (duo)
1
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39
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10
Chorale 3 parties
6
Voix duo
5
Chorale TTBB
2
Voix Soprano
1
Chorale SSAA
1
Chorale Unison
1
Chorale 2 parties
1
Soli, choeur mixte et accompagnement
1
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Vents
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17
Flûte traversière et Piano
11
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8
Hautbois, Piano (duo)
6
Clarinette et Piano
5
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
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5
Saxophone Soprano et Piano
5
2 Saxophones (duo)
5
Saxophone Baryton, Piano
4
Saxophone Tenor et Piano
4
Ensemble de saxophones
4
2 Flûtes traversières (duo)
3
Clarinette Basse, Piano
3
Flûte, Hautbois, Clarinette, Basson
3
Flute (partie séparée)
2
Ensemble de Clarinettes
2
Hautbois (partie séparée)
2
2 Clarinettes (duo)
2
Saxophone Tenor
2
Quatuor de Clarinettes: 4 clarinettes
2
Clarinette
2
Quintette de Clarinettes: 5 clarinettes
1
Quatuor de Flûtes : 4 flûtes
1
Flûte et Guitare
1
2 Clarinettes, Piano
1
Ensemble de Flûtes
1
Cor Anglais
1
Hautbois, Violoncelle
1
Quintette de Flûte : 5 flûtes
1
Piccolo
1
2 Flûte à bec (duo)
1
Saxophone Alto
1
+ 28 instrumentations
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Cuivres
Quatuor de cuivres: 4 trombones
12
Cor
5
Trombone et Piano
5
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
5
Trompette, Piano
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Cor et Piano
3
Tuba
3
Euphonium, Piano (duo)
2
Ensemble de Trombones
2
Trombone (partie séparée)
1
Tuba et Piano
1
Trompette (partie séparée)
1
Cor Anglais
1
2 Trombones (duo)
1
2 Euphoniums (duo)
1
2 Trompettes (duo)
1
2 Cors (duo)
1
+ 14 instrumentations
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Cordes
Violon et Piano
10
Alto, Piano
9
Violoncelle, Piano
6
Quatuor à cordes: 2 violons, alto, violoncelle
4
Contrebasse, Piano (duo)
2
Violon
2
Violon, Violoncelle (duo)
2
2 Altos (duo)
2
Harpe, Voix
2
2 Violons (duo)
2
2 Violoncelles (duo)
2
Violoncelle
2
Trio à Cordes: violon, alto, violoncelle
2
Contre Basse
1
Harpe
1
Ensemble d'Altos
1
Violon, Alto (duo)
1
Alto seul
1
Alto, Violoncelle (duo)
1
Ensemble de Violons
1
+ 15 instrumentations
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Orchestre
8
Orchestre d'harmonie
8
Orchestre à Cordes
5
Orchestre de chambre
3
Cloches
2
Ensemble Jazz
1
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Like as a Father
Orchestre
Partitions à imprimer
8 partitions trouvées
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Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Conductor's Score
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Orchestre
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AVANCÉ
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing wi
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1018872 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 38 pages. Benjamin Sajo #6056047...
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Full Orchestra - Level 5 - SKU: A0.1018872 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 38 pages. Benjamin Sajo #6056047. Published by Benjamin Sajo (A0.1018872). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph.  This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$20.00
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Extracted Parts
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Orchestre
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AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing wi
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1018900 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 79 pages. Benjamin Sajo #6056141...
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Full Orchestra - Level 5 - SKU: A0.1018900 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 79 pages. Benjamin Sajo #6056141. Published by Benjamin Sajo (A0.1018900). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$50.00
The Godfather Waltz
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Orchestre
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Film/TV
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Nino Rota
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Brandon C Stanley
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The Godfather Waltz
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Brandon C Stanley
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SheetMusicPlus
Full Orchestra - SKU: A0.1308030 Composed by Nino Rota. Arranged by Brandon C Stanley. Film/TV. Score and Parts. 78 pages. Brandon C Stanley #897309. Pu...
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Full Orchestra - SKU: A0.1308030 Composed by Nino Rota. Arranged by Brandon C Stanley. Film/TV. Score and Parts. 78 pages. Brandon C Stanley #897309. Published by Brandon C Stanley (A0.1308030). Track #8 from award winning Nino Rota's Original Motion Picture Soundtrack for the 1972 film The Godfather directed by Francis Ford Coppola. This arrangement gives the orchestra everything it needs to sound like the OST. With mandolin, accordion, acoustic guitar and drum set, this arrangement will sound just as it is heard on the big screen.PARTS INCLUDED:Full Transposing ScoreFull C ScoreFluteOboe 1Oboe 2 (optional)Clarinet in Bb 1Clarinet in Bb 2Bassoon 1Bassoon 2Horn in F 1,3Horn in F 2,4Trumpet in Bb 1Trumpet in Bb 2Trombone 1Trombone 2Bass TromboneTubaTimpiniPercussion 1 (Drum Set)HarpPianoAcoustic GuitarMandolinAccordionViolin 1,2ViolaVioloncelloContrabassFor the orchestra lacking Harp, Acoustic Guitar, Mandolin, and Accordion, sufficient cues are available to ensure a full sound for this cue.Film orchestrator Brandon C Stanley presents this cue as it would appear on the scoring stage with no key signatures and large time signatures.Both a C Score and Transposing Score are provided with this download.
$79.99
The Godfather Waltz - Score Only
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Orchestre
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Film/TV
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Nino Rota
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Brandon C Stanley
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The Godfather Waltz - Score On
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Brandon C Stanley
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SheetMusicPlus
Full Orchestra - SKU: A0.1308038 Composed by Nino Rota. Arranged by Brandon C Stanley. Film/TV. 9 pages. Brandon C Stanley #897319. Published by Brandon...
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Full Orchestra - SKU: A0.1308038 Composed by Nino Rota. Arranged by Brandon C Stanley. Film/TV. 9 pages. Brandon C Stanley #897319. Published by Brandon C Stanley (A0.1308038). SCORE ONLY (score in C)Track #8 from award winning Nino Rota's Original Motion Picture Soundtrack for the 1972 film The Godfather directed by Francis Ford Coppola. This arrangement gives the orchestra everything it needs to sound like the OST. With mandolin, accordion, acoustic guitar and drum set, this arrangement will sound just as it is heard on the big screen.For the orchestra lacking Harp, Acoustic Guitar, Mandolin, and Accordion, sufficient cues are available to ensure a full sound for this cue.Film orchestrator Brandon C Stanley presents this cue as it would appear on the scoring stage with no key signatures and large time signatures.
$10.99
La Línea de la Concepción "La Sinfonía del Silencio"
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Orchestre
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DÉBUTANT
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Contemporain
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Alicia DomÃnguez Arcos Sona
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Alicia DomÃnguez Arcos
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La Línea de la Concepci
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Alicia Dominguez
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SheetMusicPlus
Full Orchestra - Level 1 - SKU: A0.1365197 By Alicia DomÃnguez Arcos Sonay. By Alicia DomÃnguez Arcos. Arranged by Alicia DomÃnguez Arcos. Clas...
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Full Orchestra - Level 1 - SKU: A0.1365197 By Alicia DomÃnguez Arcos Sonay. By Alicia DomÃnguez Arcos. Arranged by Alicia DomÃnguez Arcos. Classical,Contemporary,Instructional,Multicultural,Traditional,World. 82 pages. Alicia Dominguez #949514. Published by Alicia Dominguez (A0.1365197). The charm lies in the fact that complete silence does not occur, where there is an audience you can hear the ambient sound: The sum of the breaths, the small movements, coughs... The sound qualities of the air itself and the reverberation of the room. The spectator suddenly discovers that the piece of music is composed of the sounds that surround him and of which he is not usually aware, including his own breathing, the beating of his heart or even the plaintive sound of his own shoes. In society, noise, as in this case, sound in music is present in our daily lives, forgetting to appreciate and the importance of silence. Silence does not have to give a feeling of fear. Appreciate silence, giving it that perception of inner peace and balance, equally linked to perseverance, that perseverance that occurs with music, with its constancy and persistence making it flow. Thus, just as each musical figure has its corresponding silence representing its same value and duration. Although the painter Pablo Picasso said that you have to learn the rules like a professional to be able to break them like an artist, reaffirming what Don Blas Infante, father of the Andalusian homeland (Spain), said: any paper on the ground must always be read , since any role can be important. Music scores and the time spent making them do not take the degree of value in human beings of this century. When they own it for themselves.https://youtu.be/GvEx1Bn2HS8?si=IW1ZUw1yFcJzz0uf
$7.00
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
Symphony No.3
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Orchestre
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INTERMÉDIAIRE
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Joseph Pugh This familiar form
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Joseph Pugh
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Symphony No.3
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Joseph Pugh
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.855280 Composed by Joseph Pugh. 20th Century,Contemporary,Wedding. Score and parts. 36 pages. Joseph Pugh #6525523. P...
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Full Orchestra - Level 3 - SKU: A0.855280 Composed by Joseph Pugh. 20th Century,Contemporary,Wedding. Score and parts. 36 pages. Joseph Pugh #6525523. Published by Joseph Pugh (A0.855280). This is the 1st movement of Symphony No. 3 ,In Your Stillness, By Joseph Pugh This familiar form as a single-movement character piece usually written for solo piano, the nocturne was cultivated primarily in the 19th century. The first nocturnes to be written under the specific title were by the Irish composer John Field, generally viewed as the father of the Romantic nocturne that characteristically features a cantabile melody over an arpeggiated, even guitar-like accompaniment. However, the most famous exponent of the form was Frédéric Chopin, who wrote 21 of them. Your Symphony will enjoy playing this Melancholy Nocturne by, Joseph Pugh. Download it today at a reduced price.
$35.00
The Thunderer
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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J P Sousa
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Kevin Riley
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The Thunderer
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Kevin Riley
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1488381 Composed by J P Sousa. Arranged by Kevin Riley. March. 90 pages. Kevin Riley #1065270. Published by Kevin Ril...
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Full Orchestra - Level 4 - SKU: A0.1488381 Composed by J P Sousa. Arranged by Kevin Riley. March. 90 pages. Kevin Riley #1065270. Published by Kevin Riley (A0.1488381). Other than the fact that Sousa’s “thunderer” was undoubtedly a Mason, his identity may never be revealed. “The Thunderer” march was dedicated to Columbia Commandery No. 2, Knights Templar, of Washington, D.C., and it was composed on the occasion of the Twenty-fourth Triennial Conclave of the Grand Encampment. The conclave was held in October 1889 and was sponsored by Columbia Commandery No. 2. Sousa had been “knighted” in that organization three years earlier.“The Thunderer” was Mrs. John Philip Sousa’s favorite march. This was revealed by their daughter Helen, who also surmised that the “thunderer” might have been her father’s salute to the London Times, which was known as “the thunderer.” It has since been determined that Sousa probably had no association with the newspaper at that time, however. The “thunderer” might have been one of the men in charge of making arrangements for the 1889 conclave–in particular, Myron M. Parker, who worked tirelessly to make the event the spectacular success that it was.This version has been arranged for orchestra with a little something in the trio!If you would like other arrangements of Sousa marches please get in touch at klscj(at)me(dot)com.
$70.00
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Like as a Father
