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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
The Chords
Non classifié
6 758
Piano & claviers
Piano, Voix et Guitare
13 955
Piano, Voix
9 896
Piano seul
7 214
Piano Facile
5 733
Piano grosses notes
4 613
Orgue
1 601
Instruments en Do
1 592
Accompagnement Piano
261
1 Piano, 4 mains
87
Accordéon, Voix
71
Clavier
67
Piano Trio: piano, violon, violoncelle
45
Accordéon
41
Clavecin
19
Piano Quintette: piano, 2 violons, alto, violoncelle
12
Piano (partie séparée)
10
2 Pianos, 4 mains
8
Piano Quatuor: piano, violon, alto, violoncelle
7
Orgue, Voix
6
Piano Quatuor: piano, 2 violons, violoncelle
5
1 Piano, 6 mains
4
2 Accordéons
3
Orgue, Trompette (duo)
2
Orgue, Piano (duo)
2
Tous Les Instruments
1
2 Pianos, 8 mains
1
+ 21 instrumentations
Retracter
Guitares
Ligne De Mélodie, (Paroles) et Accords
27 093
Paroles et Accords
8 609
Guitare notes et tablatures
2 792
Ukulele
2 025
Guitare
827
Guitare (partie séparée)
433
Basse electrique
283
Dulcimer
210
Mandoline
138
2 Guitares (duo)
53
Banjo
49
Piano, Guitare (duo)
34
2 Dulcimers (duo)
21
Ensemble de guitares
19
4 Guitares (Quatuor)
11
3 Guitares (trio)
9
2 Ukuleles
7
Ukulele Baryton
2
Dobro
2
Mandoline, Piano (duo)
1
Guitare, Orchestre
1
Mandoline, Guitare (duo)
1
Bouzouki
1
+ 18 instrumentations
Retracter
Voix
Chorale SATB
849
Chorale 3 parties
502
Chorale 2 parties
376
Chorale Unison
316
Voix duo, Piano
216
Voix haute
149
Voix Alto, Piano
131
Voix Tenor, Piano
123
Chorale TTBB
120
Voix Soprano, Piano
119
Voix seule
109
Chorale SSAA
104
Voix Baryton, Piano
66
Voix duo
31
Chorale
28
Voix Tenor
25
Voix Soprano
13
Voix moyenne, Piano
9
Voix basse
4
Chorale SSAB a cappella
4
Chorale SSATB
3
Chorale SSAATTBB
3
Voix basse, Piano
3
Voix, Guitare
2
Chorale SAATB A Cappella
1
Voix Mezzo-Soprano, Piano
1
+ 21 instrumentations
Retracter
Vents
Flûte traversière
933
Saxophone Alto
687
Clarinette et Piano
624
Hautbois, Piano (duo)
589
Clarinette
576
Flûte traversière et Piano
569
Saxophone Tenor
545
Saxophone Alto et Piano
501
Saxophone Tenor et Piano
423
Saxophone (partie séparée)
410
Hautbois (partie séparée)
409
Flûte, Hautbois, Clarinette, Basson
321
Quatuor de Saxophones: 4 saxophones
310
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
300
2 Saxophones (duo)
259
Saxophone Soprano et Piano
234
Quintette de Saxophone: 5 saxophones
223
2 Flûtes traversières (duo)
208
2 Flûte à bec (duo)
153
Saxophone Baryton, Piano
117
2 Clarinettes (duo)
115
Hautbois
114
2 Hautbois (duo)
103
Flûte à bec Soprano
90
Cor anglais, Piano
85
Flûte, Clarinette (duo)
73
Hautbois, Clarinette (duo)
57
Flûte à bec Alto
56
3 Clarinettes (trio)
54
3 Saxophones (trio)
52
Flûte et Guitare
49
Harmonica
43
Flûte à Bec
40
Flûte, Clarinette et Basson
40
Saxophone Soprano
39
Trio de Flûtes: 3 flûtes
38
Instruments en Mib
36
Quatuor de Flûtes à bec
30
Quatuor de Clarinettes: 4 clarinettes
30
Flûte, Hautbois (duo)
26
Cor Anglais
25
Saxophone Baryton
22
Flûte, Violon
21
Ensemble de Clarinettes
20
Quatuor de Flûtes : 4 flûtes
17
Ensemble de saxophones
16
Flûte à bec Tenor
14
5 Flûtes à bec
14
Flute (partie séparée)
12
Hautbois, Basson (duo)
12
Ensemble de Flûtes
11
Clarinette, Basson (duo)
11
Ensemble De Flûte à bec
10
Saxophone et Guitare
9
Flûte irlandaise
9
Flute, harpe et violon
9
Flûte, Violon, Piano
9
Flûte, Basson et Piano
9
Clarinette, Guitare (duo)
8
Hautbois, Guitare (duo)
8
Quintette de Flûte : 5 flûtes
7
Clarinette Basse, Piano
7
Quintette de Clarinettes: 5 clarinettes
7
Flûte, Clarinette, Cor, Basson (Quartet)
6
Harmonica, Piano
6
Clarinette (partie séparée)
5
Clarinette, Violon (duo)
5
Clarinette, Alto et Piano (trio)
5
Flûte, Violoncelle
5
Saxophone
5
Flûte, Clarinette, Violon (trio)
5
Flûte à bec Alto, Piano
5
2 Clarinettes, Piano
4
Clarinette Basse
4
2 Flûtes traversières, Piano
4
Hautbois, Violoncelle
4
Flûte, Violoncelle, Piano (trio)
4
Flûte, Hautbois, Basson
4
3 Hautbois
4
Clarinette, Violoncelle (duo)
4
Flûte, Violon, Violoncelle et Piano
4
Piccolo, Piano
4
Flûte, Hautbois, Piano (trio)
4
Clarinette et Alto
3
3 Flûtes à bec (trio)
3
Flûte, Trombone (duo)
3
Cor anglais, Guitare (duo)
3
Hautbois, Violon, Piano
3
Clarinette, Violoncelle, Piano (trio)
3
Hautbois, Flûte
3
Clarinette, Trompette (duo)
3
Hautbois et alto (duo)
3
Ocarina
3
Saxophone, Clarinette (duo)
2
Flûte, Saxophone (duo)
2
Flûte à bec Soprano, Piano
2
2 Cors Anglais Et Pianoforte
2
Flûte, Alto et Piano
2
Clarinette, Trombone (duo)
2
Hautbois, Clarinette, Basson (trio d'anches)
2
2 Hautbois, Piano
2
2 Flûtes traversières, Guitare
2
Flûte, Trompette (duo)
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Clarinette, Harpe (duo)
1
Hautbois, Basson et Piano
1
Clarinette, Orgue
1
Piccolo
1
2 Saxophones, Piano
1
Hautbois, Clarinette et Piano (Trio)
1
Flûte traversière, Orgue (duo)
1
Hautbois, Violoncelle et Piano
1
4 Hautbois
1
Flûte, Hautbois, Violon
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte, Clarinette, Piano (trio)
1
Flûte, Violoncelle, Guitare
1
Flûte, Alto (duo)
1
Clarinette, Basson, Piano (trio)
1
Hautbois, violon (duo)
1
Clarinette, trompette et piano
1
+ 116 instrumentations
Retracter
Cuivres
Trompette
632
Trombone
558
Trompette, Piano
529
Cor
441
Cor et Piano
410
Trombone et Piano
388
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
262
Tuba et Piano
254
Tuba
253
Quatuor de Cuivres : 2 trompettes, trombone, tuba
190
Quatuor de Cuivres
109
2 Trompettes (duo)
108
2 Trombones (duo)
101
2 Cors (duo)
97
Cor anglais, Piano
85
Trompette, Trombone (duo)
78
Trompette (partie séparée)
74
2 Tubas (duo)
67
Trompette, Cor (duo)
48
Quatuor de Cuivres: 2 trompettes, Cor, trombone
40
Trombone (partie séparée)
33
Bass Clef Instruments
28
Cor Anglais
25
Euphonium
20
Instruments en Sib
20
Tuba et Orgue
18
Euphonium, Piano (duo)
15
Quatuor de cuivres: 4 trombones
13
Ensemble de Trombones
9
Trio de Cuivres
8
Trompette et Guitare
8
Trombone, Tuba (duo)
7
3 Trombones (trio)
7
Cor (partie séparée)
6
Ensemble de Trompettes
5
Quatuor de cuivres: 4 trompettes
5
Quatuor de cuivres: 4 cors
5
Tuba (partie séparée)
5
Trombone, Cor (duo)
5
Trombone basse
5
Trompette, Saxophone (duo)
4
3 Trompettes (trio)
4
Cor anglais, Guitare (duo)
3
Trompette, Violoncelle et Piano
3
Trompette, Tuba (duo)
3
Cor, Violoncelle (duo)
3
Trombone, violoncelle (duo)
2
Trombone, Violon (duo)
2
2 Cors Anglais Et Pianoforte
2
Trombone basse et Piano
2
Cor, Tuba (duo)
2
2 Trompettes, Clavier (piano ou orgue)
2
2 Cors, Piano
2
Euphonium, Tuba (duo)
1
Cor et Harpe
1
Cor et Orgue
1
3 Euphoniums
1
4 Tubas
1
2 Trombones, Piano
1
2 Euphoniums (duo)
1
Trompette, Harpe
1
Trompette, Trombone, Piano
1
Trompette, Violoncelle (duo)
1
+ 58 instrumentations
Retracter
Cordes
Violon
1 031
Violon et Piano
898
Violoncelle
792
Violoncelle, Piano
655
Alto, Piano
653
Alto seul
636
Quatuor à cordes: 2 violons, alto, violoncelle
553
Quintette à cordes: 2 violons, alto, violoncelle, basse
389
Contrebasse, Piano (duo)
263
Contre Basse
263
Harpe
245
Alto (partie séparée)
176
2 Violons (duo)
153
Violon, Violoncelle (duo)
133
2 Violoncelles (duo)
131
Violon, Alto (duo)
123
2 Altos (duo)
115
2 Contrebasses (duo)
59
Trio à Cordes: 2 violons, violoncelle
53
Violon, Guitare (duo)
32
Trio à Cordes: violon, alto, violoncelle
32
Piano Trio: Violon, Alto, Piano
27
Alto, Violoncelle (duo)
23
Quintette à cordes : 2 violons, alto et 2 violoncelles
21
Violoncelle , Guitare (duo)
15
Trio à cordes: 3 violins
14
2 Harpes (duo)
12
4 Violoncelles
10
Trio à cordes: 3 altos
9
Trio à Cordes: 3 violoncelles
9
Violon (partie séparée)
7
Contrebasse (partie séparée)
6
Violoncelle, Contrebasse (duo)
6
Alto, Guitare (duo)
5
Harpe, Flûte (duo)
5
Alto et Basson
5
2 Violons, Piano
4
Quatuor à cordes: 4 violons
4
2 Violoncelles, Piano
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
4
Quatuor à cordes : 4 altos
4
Harpe, Violon, Violoncelle
4
Trio à Cordes: 2 violons, alto
4
Violon, Basson (duo)
3
2 Altos, Piano
3
Ensemble de Violons
3
Harpe, Voix
3
Violon, Clarinette, Piano (trio)
3
3 Contrebasses
2
Violon, Trompette et Piano
2
Ensemble d'Altos
2
Harpe, Violon (duo)
2
Autoharp
2
Violoncelle (partie séparée)
1
Harpe, Violoncelle (duo)
1
Alto et Harpe
1
Trio à cordes
1
Harpe et Piano
1
+ 53 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
271
Ensemble Jazz
153
Orchestre à Cordes
153
Cloches
141
Jazz combo
67
Orchestre
64
Ensemble de cuivres
55
Fanfare
31
Batterie
28
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
28
Ensemble de Percussions
14
Orchestre de chambre
13
Xylophone, Piano
13
Marimba
12
Xylophone
11
Vibraphone
10
Batterie (partie séparée)
4
2 Xylophones
4
Percussion (partie séparée)
2
Piano et Orchestre
1
Vibraphone et Marimba
1
Percussion
1
+ 17 instrumentations
Retracter
Autres
Théorie de la musique
1
Formation musicale - Solfège
1
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Instruments
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FLUTE A DIX…
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GUITARE PED…
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LUTH, THEOR…
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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
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MANDOLINE
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The Chords
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Partitions à imprimer
64 partitions trouvées
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51
CH024ORC - The wonder of a child - Orchestra
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Orchestre
#
INTERMÉDIAIRE
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Carl Van Pevenage
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CH024ORC - The wonder of a chi
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Carl Van Pevenage
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.921151 Composed by Carl Van Pevenage. Classical,World. Score and parts. 42 pages. Carl Van Pevenage #2118937. Publish...
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Full Orchestra - Level 3 - SKU: A0.921151 Composed by Carl Van Pevenage. Classical,World. Score and parts. 42 pages. Carl Van Pevenage #2118937. Published by Carl Van Pevenage (A0.921151). The wonder of a child is a Chansonnette. The chansonnettes are pop, classic or folk songs. You can find here books for solo piano and for quartet (SATB) of any instrument. The chords are provided enabling to adapt it to your ensemble. This chansonnette 024 is arranged for orchestra as an example what you can do with the chansonnettes bundled in the books. All parts are included. Listen to the MP3.
$9.95
THE GREAT WALL CONCERTO For Piano & Orchestra
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Orchestre
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AVANCÉ
#
ROBERT VAN HORNE
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THE GREAT WALL CONCERTO For Pi
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White Piano International Publishing
#
SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1316174 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Classical,Contemporary,Film/TV,Multicultural,Romantic Period,World....
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Full Orchestra - Level 5 - SKU: A0.1316174 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Classical,Contemporary,Film/TV,Multicultural,Romantic Period,World. 175 pages. White Piano International Publishing #904561. Published by White Piano International Publishing (A0.1316174). THE GREAT WALL CONCERTO for Piano & Orchestra by ROBERT VAN HORNE175 PagesPiano & Full Orchestra – AdvancedConductor Score & All Instrumental Parts IncludedApprox. Duration 13 minutes; 30 secondsComposing THE GREAT WALL CONCERTO for Piano & Orchestra was a journey of inspiration, passion, and deep personal connection for me. Having traveled to China, I was most impressed with seeing the Great Wall. Years later, I composed a musical work for piano and orchestra - a creative and classic concerto that captures the Great Wall's grandeur and majestic attraction.My first visit to the Great Wall of China was in 1983 while engaged as a pianist onboard a cruise ship that sailed the waters of Asia. My first impression seeing the Great Wall and the scenic landscape surrounding it, was one of awe and amazement.At that time, I did not realize the lasting effect this memorable attraction would have on me. Inspired and motivated by several cherished Chinese excursions to the Great Wall during my cruise ship engagement, I began the monumental task of scoring music for piano and orchestra several years later. An excerpt from 2008 Music Teacher of California Magazine review states “…The Great Wall Concerto is pleasant to listen to and has a retro 1940’s movie soundtrack mood about it - Rachmaninoff style chords against melodies in the strings...Listening to this piece, I imagined a film starring Joan Fontaine and Claude Rains as star crossed lovers fleeing their respective spouses on a visit to China.â€After many years of offering the score directly to Music Directors around the world, I am now publishing THE GREAT WALL CONCERTO with Sheet Music Plus and Sheet Music Direct.THE GREAT WALL CONCERTO is an ideal work for professional, semi-professional, pops, college and university orchestras as well as community orchestras. It can be added to any concert program featuring a guest piano soloist, and a violinist or erhu soloist.The Conductor’s Score and all Instrumental Parts are legibly notated with phrasing, dynamics, accents, and musical word descriptions. All the individual instrument parts have easy page turns with large readable scores.This 2006 recording of THE GREAT WALL CONCERTO is for demo purposes only. Except for the piano, all other instruments are digital samples. This recording does not include all the instrumental parts being heard. THE GREAT WALL CONCERTO arrangement for Two Pianos, Four Hands is also available and published by White Piano International Publishing. Robert Van Horne is a member of ASCAP.Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.com
$59.99
CC003POP - The story of the mountain - POP ensemble
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Orchestre
#
Carl Van Pevenage
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CC003POP - The story of the mo
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Carl Van Pevenage
#
SheetMusicPlus
Full Orchestra - SKU: A0.921131 Composed by Carl Van Pevenage. Pop,World. Score and parts. 53 pages. Carl Van Pevenage #2069795. Published by Carl Van P...
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Full Orchestra - SKU: A0.921131 Composed by Carl Van Pevenage. Pop,World. Score and parts. 53 pages. Carl Van Pevenage #2069795. Published by Carl Van Pevenage (A0.921131). A POP song with a lot of different emotions. Arranged for POP ensemble. All parts are included. Chords are provided enabling easy adapting to your ensemble. Listen to the MP3. Already the first view on the mountain is splendid. Oh, what a beauty. Listen to the nature. Hear the voice of Freedom. And you the artist, start climbing. Enjoy big rocks, hanging under them. Very high you still find some berries. Hear the echo, hear the silence. Cry happiness.
$9.95
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
#
Adrian Gagiu
#
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
I Heard The Bells On Christmas Day
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Orchestre
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INTERMÉDIAIRE
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Noël
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Henry Wadsworth Longfellow and
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C
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I Heard The Bells On Christmas
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FossPayneMusic
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1207032 Composed by Henry Wadsworth Longfellow and Johnny Marks. Arranged by C. Foster Payne. Christian,Christmas,Cla...
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Full Orchestra - Level 3 - SKU: A0.1207032 Composed by Henry Wadsworth Longfellow and Johnny Marks. Arranged by C. Foster Payne. Christian,Christmas,Classical,Religious,Traditional. Score and Parts. 76 pages. FossPayneMusic #805221. Published by FossPayneMusic (A0.1207032). An orchestral arrangement suitable for a church or larger orchestra with plenty of cue notes and substitute parts (including string reduction) of Johnny Marks' I Heard the Bells on Christmas Day (made popular by Bing Crosby). Starting with an exciting fanfare, the theme wanders through several moods with several soloistic sections as well as brass-centric sections with rich chords and stirring harmonies. This arrangement is a great way to begin any Christmas presentation!
$54.99
Ride The Wild Surf
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Orchestre
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AVANCÉ
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Jan and Dean
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Jan Berry
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Ride The Wild Surf
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Fiji Printing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1227318 By Jan and Dean. By Brian Wilson, Jan Berry, and Roger Christian. Arranged by Jan Berry. 20th Century,Film/TV...
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Full Orchestra - Level 5 - SKU: A0.1227318 By Jan and Dean. By Brian Wilson, Jan Berry, and Roger Christian. Arranged by Jan Berry. 20th Century,Film/TV,Pop,Rock. 52 pages. Fiji Printing #823311. Published by Fiji Printing (A0.1227318). Jan Berry's original music score, used by Wrecking Crew studio musicians to record Jan & Dean's hit single in 1964. The song also served as the title track for the Columbia Pictures film Ride the Wild Surf. Transcribed by Mark A. Moore in association with Jan Berry's estate. Perfect for college, state, and local ensembles who want to tackle this classic '60s hitInstrumentation includes: WOODWINDS: Oboe, English Horn; RHYTHM: Guitar 1-3 (including Danelectro 6-string bass guitar, with standard notation and tablature), Bass 1-2 (Fender electric and upright acoustic, with standard notation and tablature); Percussion (suspended cymbal and Hawaiian pu'ili sticks); Drums, Piano; STRINGS: Violin 1-2, Viola, Cello; VOCALS: Lead, Falsetto, Alto, Tenor, Bass.Publication includes: (1) Illustrated cover page; (2) Introductory text with commentary on Jan Berry's arrangement and recording process; (3) Song chronology with recording session details; (4) Full music score and individual charts for original studio backing track; (5) Full music score and individual charts for original vocal arrangement; and (6) Illustrations, including images from Jan Berry’s music archive.Number of Pages: 52Number of Distinct Chords: 30Note: This arrangement is categorized as Orchestra because no other available category in ArrangeMe accurately reflects the instrumentation.
$49.99
The Phoenix
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Nathan Reichwein
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The Phoenix
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Nathan Reichwein
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1024262 Composed by Nathan Reichwein. 20th Century,Contemporary,Sacred. Score and parts. 130 pages. Nathan Reichwein ...
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Full Orchestra - Level 4 - SKU: A0.1024262 Composed by Nathan Reichwein. 20th Century,Contemporary,Sacred. Score and parts. 130 pages. Nathan Reichwein #2918053. Published by Nathan Reichwein (A0.1024262). The Phoenix. FULL SCORE AND INDIVIDUAL PARTS. This short modern symphony tells the story of the mighty phoenix, which resemble the crucifixion of Jesus Christ. The first movement, The Waning Years, brings us through the mystery and uncertainty before Christ was arrested by the Romans. The second movement, Death, stabs our hearts with long drawn out minor and dissonant chords that communicate the pain He felt, before it was instantly over and for the next three days, more uncertainty. The third movement, Resurrection, is a mighty fanfare to declare to the world that Christ has risen. For he who believes in him shall not perish, but will enjoy everlasting life. The final movement: The Years to Come, takes us to that life with no pain nor sin.
$44.99
C. Debussy: The Complete Preludes, #6 (II), "General Lavine - eccentric", Orchestrated by A. Leytush
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Orchestre
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Classique
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Claude Debussy
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A
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C. Debussy: The Complete Prelu
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008400 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and parts. 19 pages. Arkady Leytush #6246337. P...
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Full Orchestra - SKU: A0.1008400 Composed by Claude Debussy. Arranged by A. Leytush. 20th Century. Score and parts. 19 pages. Arkady Leytush #6246337. Published by Arkady Leytush (A0.1008400). Debussy creates the effect of three hands playing. Lavine’s clown acts were accompanied by trumpets and drums, often backstage. Strident, spiritual and discreet: tongue-in-cheek. Sec, a dry sound for staccato chords. Debussy’s transformation of the American popular tune, Camp town Races. Sudden dynamic changes suggest the juggling act of General Lavine, tossing large and small items at the same time.This is a new orchestra transcription.
$20.00
CC019ORC - Madeira Flower - The Island - Orchestra
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Orchestre
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INTERMÉDIAIRE
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Classique
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Carl Van Pevenage
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CC019ORC - Madeira Flower - Th
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Carl Van Pevenage
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.921154 Composed by Carl Van Pevenage. Classical,Romantic Period,World. Score and parts. 35 pages. Carl Van Pevenage #...
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Full Orchestra - Level 3 - SKU: A0.921154 Composed by Carl Van Pevenage. Classical,Romantic Period,World. Score and parts. 35 pages. Carl Van Pevenage #2964057. Published by Carl Van Pevenage (A0.921154). This is a orchestra arrangement of The island, a romantic piece part of the Madeira flower bundle. Play it gently with love. Chords are provided to easily adapt it to your orchestra or ensemble. Listen to the MP3 (played by computer).
$9.95
CC018ORC - Madeira Flower - The Lady - Orchestra
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Orchestre
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INTERMÉDIAIRE
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Classique
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Carl Van Pevenage
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CC018ORC - Madeira Flower - Th
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Carl Van Pevenage
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.921155 Composed by Carl Van Pevenage. Classical,Romantic Period,World. Score and parts. 39 pages. Carl Van Pevenage #...
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Full Orchestra - Level 3 - SKU: A0.921155 Composed by Carl Van Pevenage. Classical,Romantic Period,World. Score and parts. 39 pages. Carl Van Pevenage #2964059. Published by Carl Van Pevenage (A0.921155). This is a orchestra arrangement of The Lady, a romantic piece part of the Madeira flower bundle. Play it gently with love. Chords are provided to easily adapt it to your orchestra or ensemble. Listen to the MP3 (played by computer).
$9.95
Bramshill Concert Rondo
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Stephen Lines
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Bramshill Concert Rondo
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Stephen Lines
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.957733 Composed by Stephen Lines. Contemporary. Score and parts. 99 pages. Stephen Lines #26285. Published by Stephen...
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Full Orchestra - Level 3 - SKU: A0.957733 Composed by Stephen Lines. Contemporary. Score and parts. 99 pages. Stephen Lines #26285. Published by Stephen Lines (A0.957733). Bramshill was written to commemorate the 50th anniversary of the police staff college and was premiered by the British Police Symphony Orchestra in 2008. In 2011 it undertook some quite serious revision. Bramshill House was until recently the home of the Police Staff College. In 1953 the Home Office purchased Bramshill from Lord Brocket. There is evidence that the site has been inhabited since the time of Domesday and the Norman Conquest. The present building was constructed principally by Edward Zouche, 11th Baron Zouche of Harringworth, between c. 1605-1625. The music is written in large ternary form as a concert rondo. There are features within which depict and draw together various facets of the early history of Bramshill House as a Jacobean structure with that of its current role as the police staff college. After a declamatory eighteen bar opening in the key of C minor the piece leads towards the principal theme - it is introduced by the horn, quietly accompanied by chords from the clarinets dipping in and out of the chalumeau register - a haunting, ethereal theme that depicts the mystery of the ancient building and its numerous reported wraiths. The theme develops and is pronounced giacoso in the strings with light accompaniment in the higher woodwinds. A restatement of the main theme is followed by a section, fugato; this depicts a police officer on the beat in the early hours of a cold, wet, winter’s night. This theme transmutes into a quasi-stately dance such as may have been performed in Bramshill’s great withdrawing room or the long gallery in the 1600’s. A series of 6/3 chords then develop into what sounds akin to a police siren; the section culminates in a wash of sound with police theme, stately dance and siren sounding simultaneously. In the final section, the principal theme is reiterated in various guises and sub-themes are further explored.
$22.50
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Symphony No. 3 in A minor, op. 17
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Orchestre
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
EP!C!!!
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Austin Wintory
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EP!C!!!
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Austin Wintory
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243. Published by Au...
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Full Orchestra - Level 4 - SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243. Published by Austin Wintory (A0.1031686). EP!C!!! is an overture-sized orchestral work, originally commissioned by the West Michigan Symphony in 2016. It is intended as a higher energy opener or Act 1 closer. Program notes:Entirely by mistake, EP!C!!! is study in conflict. The piece began with a simple premise: compose a work which teases some of the pervasive clichés of today’s musical landscape (particularly the Hollywood or so-called media music scenes). Those clichés are primarily two gestures: 1) a progression of chords, often called the Chords of Destiny (consisting of i – VI – III – VIII) and 2) an endlessly repeating minor third ostinato.The conflict emerged internally when, after multiple false starts, I would quickly start to hate the piece because it felt like the clichés were being presented whole cloth, without the slightest sense of irony. I became deeply paranoid that the music wasn’t in on its own joke. When I would reverse course, it felt condescending, as though it were declaring from some erudite ivory tower that it was above those gestures. The trouble particularly with the latter is that clichés become so for a reason; something genuinely compelling becomes so ubiquitous that it loses some of the freshness, but that doesn’t erase what initially made it compelling. So the piece needed to somehow make fun of the fact that these gestures are cliché, while not dismissing their intrinsic value. And indeed, to celebrate that value!It took a long time to find my place between those two extremes, and ultimately I think the music that emerged is actually the conflict itself manifest. The two gestures are this constant presence, almost like a seductive temptation, that are initially regarded as distractions, but eventually become the music’s core. It’s as though the music finally decided to just relent and find something to truly love and celebrate within these overwrought ideas, haters be damned.However, for the sake of total clarity of intention, I couldn’t resist some on-the-nose tongue-in-cheek. The little cameo of Haydn’s lulling 94th Symphony 2nd movement tune is my way of saying you think classical music is epic??? THEN LISTEN TO THIS SH*T!!! before inevitably popping open a Mountain Dew and snowboarding into an avalanche.- Austin Wintory, October 21, 2016
$40.00
Festival
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Mike Lyons
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Festival
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Lyons Music Services
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1119919 By Mike Lyons. By Mike Lyons. Classical,Contemporary. Score and parts. 111 pages. Lyons Music Services #72126...
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Full Orchestra - Level 4 - SKU: A0.1119919 By Mike Lyons. By Mike Lyons. Classical,Contemporary. Score and parts. 111 pages. Lyons Music Services #721269. Published by Lyons Music Services (A0.1119919). Festival:(Time 7:05) This is an original, previously unpublished piece, composed specifically for the ICF festival 2022. It is a programmatic piece in 3 sections, with each section being a description of some aspect of the word Festival. I have taken the broadest definition of the word festival to give as much scope for variety as possible. The first section opens with ‘sunrise’ on the day of the festival, shown by long-held open fourth chords, with the snapping of the violin pizzicatos (perhaps) being the rattle of tent lines/guys. The bass clarinet solo then shows people waking up and stretching, yawning and just before Letter A, the descending figures throughout the ensemble bring us all together to start the festival. From Letter A, one sets off at a marching pace through the crowds. We hear a mish-mash of vendors’ calls overlaying each other, repeating variations of the same motif and this little tune develops as it moves around the festival site, sometimes loud and sometimes faint. At some point, of course, arguments break out (e.g. Letter B between the strings and brass), but generally, the mood is business-like. At Letter C, there comes a parade of minstrels through the field which eventually fades off into the distance. At Letter D, we look at a different kind of festival. Not necessarily religious, but certainly spiritual. The harp and bell sounds evoke far-eastern temples while the string harmonics evoke an eerie stillness which is broken only by the melodic fragments (based on the 4ths of the first section) which pass around the orchestra. The theme is first heard on the Cor Anglais (echoed by the harp) which gives it a warmer, less piercing, sound than the oboe. The quartal chords at b.149 denote the vast mysteries of the cosmos. As our gaze widens, we are suddenly brought back to Earth with a rush as yet another kind of festival is evoked. This time we are looking briefly at the Indian subcontinent. Where fakirs charm snakes and young boys climb ropes only to disappear. The third and final section returns us to the British Isles, where the Celts are making merry in a festival. There is dancing, singing, feasting and drinking a-plenty. And, just when you think it’s all over, there’s a final push to get another dance going. The final chords are a reminder of the opening as we finish our revels as the sun descends below the horizon in a beautiful sunset.
$55.00
Autumn tableau
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Dario Duarte
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Autumn tableau
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Dario Duarte
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1080608 By Dario Duarte. By Dario Duarte. Classical,Contemporary,Folk,Multicultural,World. Score and parts. 45 pages....
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Full Orchestra - Level 4 - SKU: A0.1080608 By Dario Duarte. By Dario Duarte. Classical,Contemporary,Folk,Multicultural,World. Score and parts. 45 pages. Dario Duarte #684825. Published by Dario Duarte (A0.1080608). The piece consists of a description of a small tableau with an autumn theme in an idyllic town. In the region of the Latin American Andes, more precisely the tableau called ayacuchano is an art form very representative of the folklore of the region. Taking this idea of micro-stories, the work narrates four scenes of a day that begins at dawn and ends with the town's festival. Each story corresponds to the four sections of the music, which are performed successively. First tableau: Autumn morning lights. The change of season is perceived in the ashen morning lights of the autumn season, the sun rises lightly with a slight warmth, giving the ochre color that dominates the landscape a sense of tranquility and reflectiveness. The mood of this piece is one of contemplation. Second tableau: Noon in the town The tableau opens. It is midday. The whole town is busy with preparations for the harvest festival celebration. The music goes by with the sounds of the town and the joy of the inhabitants for the important festivity they are about to share as a community. The whole town is a great hustle and bustle. You hear barrel organs, feel the excitement of hanging banners and decorating the houses for the main parade. Third tableau. Little song for siesta time. A nostalgic voice sings an old folk song to lull the children to sleep. The voices of other adults of the town intertwine to sing a song to the sleeping children. It is a tender song that recovers the stillness and tranquility of the town at the hour when everyone returns to their homes to rest. Fourth tableau: Night of celebration. Harvest Festival The first chords of the town band can be heard in the distance, a melody invites to enter with enthusiasm to the place where the festival will take place. The dance begins, the band plays energetically and everyone participates in a dance of joy. In the most important moment of the party, the town's hymn is played, everyone joins in one voice to sing the song that distinguishes them. And now: the announcement of the winners of the harvest contest. Someone is honored and everyone applauds vigorously. Then the dancing continues again. Everyone occupies the center of the dance floor and enjoys being part of a colorful celebration of unity for the town. Instragram (to be contacted by the instrumental parts): @darioduartenunez.
$15.99
Symphony # 1, 4th movement
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Aere Greenway
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Symphony # 1, 4th movement
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Aere R Greenway
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.935338 Composed by Aere Greenway. Contemporary,New Age,Romantic Period. Score and Parts. 38 pages. Aere R Greenway #6...
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Full Orchestra - Level 4 - SKU: A0.935338 Composed by Aere Greenway. Contemporary,New Age,Romantic Period. Score and Parts. 38 pages. Aere R Greenway #6453743. Published by Aere R Greenway (A0.935338). This movement is based on a sequence of 8 chords, with melodies using them, as well as variations on how the chords are played (a passacaglia). In the coda, a theme from the 1st movement briefly appears.
$14.97
Let It Snow! Let It Snow! Let It Snow!
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Lady Antebellum
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Javier Sambrano
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Let It Snow! Let It Snow! Let
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Sambrano Music
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Guitar,Piano,Tenor Saxophone,Trombone,Trumpet - Level 4 - SKU: A0.1032990 By Lady Ante...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Guitar,Piano,Tenor Saxophone,Trombone,Trumpet - Level 4 - SKU: A0.1032990 By Lady Antebellum. By Jule Styne. Arranged by Javier Sambrano. Contemporary. Score and parts. 76 pages. Sambrano Music #6204495. Published by Sambrano Music (A0.1032990). A swinging big band version of Let It Snow. Features short solos of Trumpet 2, Tenor Sax 1, Trombone 1, and Alto Sax 1. The solos are written out and chords are also provided for those that enjoy improvising. The piano is written out with small fills and written out voicings, but the chords are also provided for those feeling more comfortable with the chords notations. The guitar part was written in the style of Freddie Green(one note rhythm) and chords are also provided for the guitarist to adjust to their style. A mp3 file will be uploaded soon. Trumpet lead goes to D(C Concert).
$43.00
Aubade: A Pairing with Beethoven's Symphony #1 - Extracted Parts
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Aubade: A Pairing with Beethov
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1018920 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 39 pages. Benjamin Sajo #6064807...
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Full Orchestra - Level 4 - SKU: A0.1018920 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 39 pages. Benjamin Sajo #6064807. Published by Benjamin Sajo (A0.1018920). Programme Notes: It is said that the darkest hour of the night comes just before the dawn. – Thomas Fuller Mornings are powerful and evocative moments. The chorus of birds, one species after another, unite in a wild and genuine polyphony while the dew and mist evaporate upon the rising of the sun, encouraging goosebumps and shivers from an open window, tempered or exhilarated by a cup of coffee. Have you ever actively witnessed the sun’s sultry and intense ascension from the cradle of the horizon? That is what this piece, Aubade, or Dawn Song, is about. An aubade is the twin of a night-time serenade; an aubade is a love song originating amongst the medieval Provençal troubadours, depicting the morning departure between two lovers. An aubade is a song in honor of the slow cosmic percolation of a late summer morning. On a personal level, the composer is reminded of his own experiences camping in Northern Canada as a young man–a simpler and less demanding time. This piece formally begins the 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 first symphony; I envisioned, once my piece concludes, his beautiful drawn-out chords presenting themselves–the dawn of his special genius.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.
$31.50
Aubade: A Pairing with Beethoven's Symphony #1 - Conductor's Score
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Aubade: A Pairing with Beethov
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1018901 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 27 pages. Benjamin Sajo #6064731...
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Full Orchestra - Level 4 - SKU: A0.1018901 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 27 pages. Benjamin Sajo #6064731. Published by Benjamin Sajo (A0.1018901). Programme Notes: It is said that the darkest hour of the night comes just before the dawn. – Thomas Fuller Mornings are powerful and evocative moments. The chorus of birds, one species after another, unite in a wild and genuine polyphony while the dew and mist evaporate upon the rising of the sun, encouraging goosebumps and shivers from an open window, tempered or exhilarated by a cup of coffee. Have you ever actively witnessed the sun’s sultry and intense ascension from the cradle of the horizon? That is what this piece, Aubade, or Dawn Song, is about. An aubade is the twin of a night-time serenade; an aubade is a love song originating amongst the medieval Provençal troubadours, depicting the morning departure between two lovers. An aubade is a song in honor of the slow cosmic percolation of a late summer morning. On a personal level, the composer is reminded of his own experiences camping in Northern Canada as a young man–a simpler and less demanding time. This piece formally begins the 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 first symphony; I envisioned, once my piece concludes, his beautiful drawn-out chords presenting themselves–the dawn of his special genius.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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
Orchestraining No. 01 [Orchestra]
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Orchestre
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FACILE
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Juan MarÃa Solare
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Orchestraining No. 01 [Orchest
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Juan Maria Solare
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SheetMusicPlus
Full Orchestra - Level 2 - SKU: A0.1224099 Composed by Juan MarÃa Solare. 19th Century,20th Century,21st Century,Classical,Instructional. Score and P...
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Full Orchestra - Level 2 - SKU: A0.1224099 Composed by Juan MarÃa Solare. 19th Century,20th Century,21st Century,Classical,Instructional. Score and Parts. 20 pages. Juan Maria Solare #820190. Published by Juan Maria Solare (A0.1224099). Orchestraining is a cycle of orchestral studies, each of which focuses on different aspects of performance. These studies are specifically designed for non-professional orchestras, although any orchestra will improve by playing some of these pieces during rehearsals. It is always necessary to pay attention to intonation and many other aspects of orchestral performance.In addition, these studies are also useful for orchestral conducting students. For example, it is essential to know how to conduct a simultaneous attack of a chord that does not begin on the first beat, but a eighth note after the third beat.I began writing these studies around 2013, when I took over the direction of the Bremer Orchestergemeinschaft and noticed the complete absence of repertoire of this kind. As a pianist, I am accustomed to studies by Carl Czerny or playing scales. Each individual instrumentalist knows studies of technique for their instrument. However, there are no, or at least I am not aware of, similar studies for orchestral performance technique and the specific difficulties of ensemble playing that it requires. The cycle Orchestraining aims to fill this gap.The particular study Orchestraining Nr. 01 focuses on the subject of simultaneous attacks, presenting a series of staccato chords in different parts of the bar. The piece will be played twice, with different dynamics and (partly) different performing techniques (particularly in the strings: pizzicato vs. arco).Orchestraining No. 01 - simultaneous attacks*Orchestraining es un ciclo de estudios orquestales, cada uno de los cuales tematiza diferentes aspectos de la ejecución. Estos estudios están concebidos especÃficamente para orquestas no profesionales; sin embargo, cualquier orquesta mejorará si toca alguna de estas piezas durante los ensayos. Siempre es necesario cuidar la afinación y muchos otros aspectos de la ejecución orquestal.Adicionalmente, estos estudios son también útiles para estudiantes de dirección orquestal. Por ejemplo, es imprescindible saber cómo dirigir un ataque simultáneo de un acorde que no comienza en el uno, sino una corchea después del tercer tiempo.Comencé a escribir estos estudios hacia 2013, cuando asumà la dirección de la Bremer Orchestergemeinschaft y noté la ausencia total de repertorio de este tipo. Como pianista estoy acostumbrado a los estudios de Carl Czerny o a tocar escalas. Cada instrumentista, individualmente, conoce sobradamente estudios de técnica para su instrumento. Sin embargo no existen, o no conozco, estudios similares para la técnica de ejecución orquestal y las dificultades especÃficas de ensamblaje que ésta requiere. El ciclo Orchestraining intenta cubrir esta laguna.El estudio Orchestraining Nr. 01 en particular trata el tema de los ataques simultáneos, presentando una serie de acordes staccato en distintas partes del compás. La obra se tocará dos veces, con distintas dinámicas y (en parte) con distintas técnicas de ejecución (particularmente en las cuerdas: pizzicato vs. arco).
$5.00
Legacy
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Sy Brandon
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Legacy
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.755203 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 253 pages. Sy Brandon #3415579. Published ...
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Full Orchestra - Level 4 - SKU: A0.755203 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 253 pages. Sy Brandon #3415579. Published by Sy Brandon (A0.755203). Legacy is a three movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission and premiered by the Washington Sinfonietta, Rufus Jones, conductor. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate is quieted by a measure of repeated chords that could be the words, stop it! stop it now!. A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries bring the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressive the harshness of the climate. Colleen McCollough’s book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato that creates a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity.The score prints on legal size paper and the parts on letter.
$49.95
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