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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
Modal Music
Sheetmusicplus
Non classifié
109
Piano & claviers
Piano seul
92
Piano Facile
15
Orgue
12
Piano, Voix
8
Piano, Voix et Guitare
6
Accompagnement Piano
4
Instruments en Do
3
Piano (partie séparée)
2
2 Pianos, 4 mains
2
Piano Trio: piano, violon, violoncelle
2
Clavecin
1
+ 6 instrumentations
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Guitares
Guitare
16
Guitare notes et tablatures
7
Banjo
6
Guitare (partie séparée)
4
Dulcimer
4
2 Guitares (duo)
2
Basse electrique
1
+ 2 instrumentations
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Voix
Chorale SATB
82
Chorale 3 parties
35
Chorale TTBB
16
Chorale 2 parties
15
Chorale Unison
12
Chorale SSAA
5
Voix Soprano, Piano
3
Voix Alto, Piano
1
Voix Soprano, Orchestre
1
Voix moyenne, Piano
1
+ 5 instrumentations
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Vents
Saxophone (partie séparée)
14
Quatuor de Saxophones: 4 saxophones
8
Flûte traversière et Piano
7
Clarinette (partie séparée)
5
Hautbois, Piano (duo)
4
Quatuor de Clarinettes: 4 clarinettes
4
Clarinette et Piano
4
Clarinette
3
Flute (partie séparée)
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
2 Clarinettes (duo)
2
Flûte, Hautbois, Clarinette, Basson
2
Flûte traversière
2
2 Flûtes traversières (duo)
2
Hautbois (partie séparée)
2
Flûte, Hautbois, Clarinette (trio)
1
Saxophone Tenor et Piano
1
Flûte à bec Alto
1
Quatuor de Flûtes : 4 flûtes
1
Ensemble de Flûtes
1
Flûte, Hautbois, Basson
1
Saxophone Alto
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Violoncelle
1
Flûte à Bec
1
Clarinette, Basson (duo)
1
Quatuor de Flûtes à bec
1
Cor anglais, Piano
1
Flûte à bec Tenor
1
Quintette de Saxophone: 5 saxophones
1
Clarinette Basse, Piano
1
Flûte, Clarinette et Basson
1
Flûte, Clarinette, Violon (trio)
1
2 Flûte à bec (duo)
1
Ensemble De Flûte à bec
1
Saxophone Soprano et Piano
1
Ensemble à vent
1
+ 32 instrumentations
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Cuivres
Trombone (partie séparée)
15
Trompette (partie séparée)
9
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
6
Tuba (partie séparée)
4
Cor (partie séparée)
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Trompette, Piano
3
Trompette
2
Cor et Piano
2
2 Trompettes (duo)
2
Quatuor de cuivres: 4 cors
1
Tuba
1
Trombone et Piano
1
Cor anglais, Piano
1
+ 9 instrumentations
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Cordes
Harpe
51
Quatuor à cordes: 2 violons, alto, violoncelle
19
Violon (partie séparée)
9
Violon et Piano
7
Contrebasse (partie séparée)
5
Violoncelle
4
Violoncelle, Piano
4
Alto seul
3
Trio à Cordes: violon, alto, violoncelle
3
Violon
3
Alto (partie séparée)
2
2 Violons (duo)
2
Violoncelle (partie séparée)
2
Violon, Alto (duo)
1
Trio à Cordes: 3 violoncelles
1
Violoncelle , Guitare (duo)
1
Autoharp
1
Harpe, Flûte (duo)
1
+ 13 instrumentations
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Orchestre d'harmonie
242
Ensemble Jazz
27
Orchestre à Cordes
26
Orchestre de chambre
6
Cloches
6
Ensemble de cuivres
3
Orchestre
2
Batterie (partie séparée)
2
Jazz combo
2
Percussion (partie séparée)
2
Vibraphone
2
Marimba
1
Ensemble de Percussions
1
Piano et Orchestre
1
Quatuor à Vent : 4 instruments à vents
1
+ 10 instrumentations
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--INSTRUMENTS--
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ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CLAIRON
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CORNET
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Missa Solemnis, op. 27 - Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00
92.19 €
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Orchestre
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
Theme and Variations on a Chinese New Year Theme for Extended Orchestra - Set of all parts
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1027336 Composed by Jeremy Goh,…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1027336 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 78 pages. Jeremy Goh #12125. Published by Jeremy Goh (A0.1027336). We present a work composed as a tongue-in-cheek expression of a popular street tune heard today, put through a series of 5 variations that explore different styles. It works in both a satirical as well as sophisticated manner vertically and horizontally, and uses multiple cliches that will get the audience perking up in recognition. The theme, 贺新年, is a common tune sung in Chinese New Year celebrations. In the heart of celebrating the New Year, this piece is written playable by musicians of all ages, whether in schools or as community orchestras and bands, to come together by the common celebratory notion in a work for an extended orchestra, including the saxophone and euphonium. Written by Daniel Cheng and Jeremy Goh, we hope that this season this piece can bring both laughter and reverence to the street tune, blown out of proportion in style and size. Starting the work is an atonal entry, built on tone rows and planing, legacies of Shoenberg and his contemporaries, before decomposing into an exceedingly lively statement of the theme. This is then juxtaposed beside a trip to tribal communities with interlocking rhythms and a modal distortion of the melody. From the modal mess and deviation from diatonicism, we then return to the prim and proper style of Mozart and Haydn in a short Classical variation. As if to mock its neat stature, this then is shattered with a juxtaposition beside a variation in the style of Shostakovich, modelled after the controversial Leningrad symphony, which draws on a different dimension of the theme, its banality, and propagating and emulsifying it to terrifying levels as it is distorted. Finally, a schreckenfanfare is directed marking an entry into a tribute to one of the greatest legends in music composition, with Beethoven along with its transcendental qualities of cyclism, and use of learned styles, methods of maintaining tension etc., bringing a grand ending to the 10 minute long work.
$4.99
4.6 €
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Orchestre
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Jeremy Goh, Daniel Cheng
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Theme and Variations on a Chinese New Year Theme for Extended Orchestra - Set of all parts
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Jeremy Goh
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SheetMusicPlus
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