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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
What It Used To Be
Non classifié
126
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Piano, Voix et Guitare
338
Piano Facile
57
Piano seul
51
Piano, Voix
22
Orgue
6
Instruments en Do
6
Piano Trio: piano, violon, violoncelle
2
Accompagnement Piano
1
Orgue, Piano (duo)
1
2 Pianos, 4 mains
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 6 instrumentations
Retracter
Guitares
Guitare notes et tablatures
20
Guitare
10
Ukulele
3
Piano, Guitare (duo)
1
Voix
Chorale SATB
27
Chorale 2 parties
11
Chorale 3 parties
6
Chorale TTBB
3
Chorale Unison
3
Voix Baryton, Piano
1
+ 1 instrumentations
Retracter
Vents
Clarinette et Piano
7
Quintette de Saxophone: 5 saxophones
6
Flûte traversière et Piano
5
Saxophone Alto et Piano
5
Hautbois, Piano (duo)
5
Saxophone Tenor et Piano
4
Quintette de Flûte : 5 flûtes
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
2 Saxophones (duo)
3
Quatuor de Saxophones: 4 saxophones
3
Clarinette
3
Flûte, Alto et Piano
2
Ensemble de Clarinettes
2
Quatuor de Clarinettes: 4 clarinettes
2
Flûte, Hautbois, Clarinette, Basson
2
Flûte traversière
2
Saxophone Soprano et Piano
2
3 Saxophones (trio)
1
Flûte, Alto (duo)
1
Saxophone Tenor
1
2 Clarinettes (duo)
1
Saxophone Baryton, Piano
1
Saxophone Soprano
1
Clarinette, Trompette (duo)
1
Saxophone, Clarinette (duo)
1
Flûte, Saxophone (duo)
1
2 Flûtes traversières (duo)
1
Quatuor de Flûtes : 4 flûtes
1
Saxophone Alto
1
2 Flûtes traversières, Piano
1
Flûte, Violon
1
Ensemble de Flûtes
1
2 Clarinettes, Piano
1
Saxophone et Orgue
1
+ 29 instrumentations
Retracter
Cuivres
Cor et Piano
7
Trombone
7
Trombone et Piano
7
Quatuor de Cuivres : 2 trompettes, trombone, tuba
6
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
6
Trompette
5
Trompette, Piano
3
Ensemble de Trombones
2
Tuba et Piano
2
2 Trompettes (duo)
2
Ensemble de Trompettes
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
2 Trombones (duo)
2
2 Tubas (duo)
1
Quatuor de cuivres: 4 cors
1
Euphonium
1
Trompette, Trombone (duo)
1
Quatuor de Cuivres
1
Trompette, Saxophone (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
+ 15 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
13
Violoncelle, Piano
10
Violon et Piano
8
Alto, Piano
6
Harpe
5
Violoncelle
4
Violon, Alto (duo)
3
Violon, Violoncelle (duo)
3
Trio à Cordes: violon, alto, violoncelle
2
Ensemble de Violons
2
Violon
2
Contrebasse, Piano (duo)
2
2 Violons (duo)
1
2 Violoncelles (duo)
1
+ 9 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
21
Orchestre à Cordes
14
Orchestre
6
Ensemble Jazz
5
Orchestre de chambre
4
Ensemble de cuivres
4
Cloches
2
Ensemble de Percussions
1
Piano et Orchestre
1
+ 4 instrumentations
Retracter
Autres
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ACCORDEON
ALTO
AUTRES INST…
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BUGLE
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CONTREBASSE
COR
COR ANGLAIS
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DOBRO - GUI…
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EUPHONIUM
FANFARE - B…
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FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
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HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
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PARTITIONS …
PAS DE PART…
PERCU. ORCH…
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SYNTHE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
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ASIE
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COMEDIES MUSICALES -…
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ENFANTS : EVEIL - IN…
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FLAMENCO
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FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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What It Used To Be
Orchestre
Partitions à imprimer
6 partitions trouvées
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1
White Horses
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Orchestre
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FACILE
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Ben Nisbet and Michael Carr
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Kevin Riley
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White Horses
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Kevin Riley
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SheetMusicPlus
Full Orchestra - Level 2 - SKU: A0.872299 Composed by Ben Nisbet and Michael Carr. Arranged by Kevin Riley. 20th Century,Film/TV. Score and parts. 26 pa...
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Full Orchestra - Level 2 - SKU: A0.872299 Composed by Ben Nisbet and Michael Carr. Arranged by Kevin Riley. 20th Century,Film/TV. Score and parts. 26 pages. Kevin Riley #478743. Published by Kevin Riley (A0.872299). The theme song to the German version was played by Ivo Robić. The UK theme song - written by Michael Carr and Ben Nisbet and later back dubbed onto all versions, was simply titled White Horses, and credited to Jacky - was sung by Irish-born Jackie Lee. It became a top 10 hit in the UK charts in April 1968. The book The Penguin Television Companion claimed it to be the best television theme in history.[3] It has been copied and used many times since, including: The theme was covered in 1968 by Claudine Longet, as a B-side to the single Nothing to Lose. Trixie's Big Red Motorbike covered the song on their second John Peel session in 1983.[4] Scottish female group Sophisticated Boom Boom covered the song in 1982 on their Peel Session. Jamie Wednesday recorded the track for their EP Vote for Love in 1987. The Trashcan Sinatras featured a version of the song on their EP Circling the Circumference (1990) The English band Kitchens of Distinction recorded a cover of the theme song during the sessions for what would be their final album, Cowboys and Aliens (1994). The song was first released in the UK as a b-side on the album's first single, Now It's Time to Say Goodbye; it was later released in the US as a b-side on the album's title track Morwenna Banks released a cover version in 1995 as her Absolutely character, The Little Girl. The film Me Without You (2001) used the Jacky stereo version on its opening credits, and a version by Lucy Street during the end credits Cerys Matthews performed the song on the compilation Songs for the Young at Heart (2007) The theme was covered by Dean and Britta on their album Back Numbers (2007) The theme was covered by Andrea Ross on her album Moon River (2007) The theme was covered by Mari Wilson on her album Pop Deluxe (2016).
$60.00
CONJUNCTION: The Christmas Star of 2020
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Orchestre
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INTERMÉDIAIRE
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Noël
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Sta
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #649...
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Full Orchestra - Level 3 - SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00
Arizona Centennial Overture - Orchestra Version
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Sy Brandon
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Arizona Centennial Overture -
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.755101 Composed by Sy Brandon. 20th Century,Concert,Contemporary,Folk. Score and parts. 124 pages. Sy Brandon #338457...
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Full Orchestra - Level 4 - SKU: A0.755101 Composed by Sy Brandon. 20th Century,Concert,Contemporary,Folk. Score and parts. 124 pages. Sy Brandon #3384577. Published by Sy Brandon (A0.755101). Arizona Centennial Overture was commissioned by the Arizona Commission on the Arts as part of the Centennial Legacy Project to help celebrate Arizona’s centennial. There are three versions of the compositions, chamber orchestra, full orchestra, and band. The overture pays tribute to the unique blend of the various cultures that had a part in shaping Arizona into what it is today. This six and a half minute composition is divided into three main sections. The first section begins with fanfares that announce the celebration. After thirty seconds, the introduction fades into music that pays tribute to the pioneers that migrated to Arizona. The music has a rustic quality reflecting the pioneering spirit of the ranchers, farmers, miners, and merchants who came to Arizona seeking a better way of life. This section is intended to be inclusive as it is impossible to represent each culture individually in a short musical composition. The second section pays tribute to the various Native American cultures that are a large part of Arizona’s history and its present way of life. Flutes and percussion instruments are used in the beginning of this section to represent the Native American respect for nature. This quiet section evolves into a ceremonial dance that increases in intensity. Towards the end of this section one hears fragments of the pioneer melody as these culture come together. The third section is influenced by Mariachi music to recognize the Hispanic influence in Arizona. The first part uses an original rollicking tune with four beats to the measure over syncopation. The second part contains a lyrical melody with three beats to the measure accompanied by instruments playing accents that create the Hispanic sounding grouping of six notes into three groups of two alternating with two groups of three. A brief ending using the fanfares of celebration interspersed with figures from the Native American and pioneer sections brings the work to a rousing close.The score prints on legal size paper and the parts on letter.
$39.99
Ponder Anew
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Orchestre
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LOBE DEN HERREN
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Robert Myers
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Ponder Anew
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - SKU: A0.976722 Composed by LOBE DEN HERREN. Arranged by Robert Myers. Christian,Contemporary,Sacred. Score and parts. 64 pages. WheatMy...
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Full Orchestra - SKU: A0.976722 Composed by LOBE DEN HERREN. Arranged by Robert Myers. Christian,Contemporary,Sacred. Score and parts. 64 pages. WheatMyer Music #4808643. Published by WheatMyer Music (A0.976722). Joachim Leander's Praise to the LORD, the Almighty, as translated by Catherine Winkworth, has consistently been one of the most published hymns in the English language since the mid-20th Century. Its anonymously composed tune, LOBE DEN HERREN, almost exclusively paired with this text since the 17th Century, is also much loved. Even J.S. Bach found it suitable to feature in his 137th cantata. The title of this arrangement, Ponder Anew, as taken from the commonly used third stanza of the hymn, Ponder anew what the Almighty can do, invites one to consider afresh the attributes and works of Almighty God as one listens to this completely new setting of the tune. This arrangement for orchestra features three variations of the complete hymn tune utilizing metrical and harmonic changes to maintain focus on the tune and its text. These are bracketed via repetitions of the first five tune pitches in harmonic planing over a crescendoed pedal tone producing steadily increasing tension with unexpected resolutions of the beginning and concluding phrases. The music in not particularly difficult and should be readily playable by high school or higher level musicians. Yet, both musicians and audience will find the work interesting and enjoyable with music that reflects the majesty and mystery of its subject. Robert Myers S.D.G.INSTRUMENTATION Picc, Fl1, 2 Oboe 1, 2 Bb Cl 1, 2 + Bass Cl Bsn 1 Hn 1, 2 Tpt 1, 2, 3 Tbn 1, 2, 3 Tuba Timpani Perc. 1 (glock, crash cym, sus cym, ride cym, mark tree, claves, tam tam) Perc. 2 or Drum Set (snare, bass drum, toms (lo/mid/hi), crash cym, finger cym or triangle, ride cym, sys cym) Vln 1, 2 VlaVC DB
$75.00
Divinum Mysterium
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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12th Century Plainchant
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Robert Myers
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Oboe 1,2
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Divinum Mysterium
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score ...
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Full Orchestra - Level 4 - SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score and parts. 76 pages. WheatMyer Music #4798079. Published by WheatMyer Music (A0.976721). DIVINUM MYSTERIUM is a chant tune dating to the 12th century which is associated with the hymn, Of the Father's Love Begotten, based on the Latin hymn, Corde natus ex parentis, written by Prudentius in the late 4th / early 5th century. This is thus one of the very oldest texts and tunes still sung in our churches today. The shape and flow of this arrangement, which includes quotations from CANTIQUE de NOEL (O Holy Night) – Adolphe Adam (1844), was strongly influenced by what one writer described as the strong wave shapes of the tune. I’ve attempted to make these waves a significant feature of the piece, featured in both the constant crescendo/decrescendos and the interweaving of the two tunes. And, just as ocean waves don’t arrive in steady rhythms, these musical waves are variable – sometimes closely spaced, sometimes not, and sometimes overlapping. The unique character of each of the three major sections is implied in their headings: (1) with mystery and wonder, (2) Joyfully – a child is born, and (3) contemplative – God is with us. The opening section portrays the mystery of the trinity (the hymn text was written as an apology for the Nicene Creed) mixed with the wonder of the Creator God lying in a manger. Since the tune is derived from medieval chant, I wanted this section to reflect the loose metrical nature of that genre, so the melodic phrasing should predominate over any sense of meter up to letter C. The initial tonal and metrical ambiguity and the fractured melodic lines gradually meld into conventional tonality and clear statements of the two main themes. Don’t let the poco rit. just before C be too poco. Build a definite sense of tension in anticipation of the Presto section. The Presto section presents the first complete statement of the main theme. I felt a strong, rhythmic treatment should follow the ambiguity of the opening to reflect the joy of the Messiah’s incarnation realized. However, the gravity of the text demands avoidance of frivolity and banality. Thus, I used a combination of the long, flowing lines with a syncopated pulse and echoing rhythms to produce what I hope is a fresh but still reverent treatment of this ancient hymn – one that produces a kaleidoscope of tonal color. Arriving at the third section at letter F, the asymmetrical pulse gradually shifts into a straight 3 pattern. The slower tempo and return of the secondary theme call us to reflect on the import of God now with us. The marking of Let off the gas and coast to the end is a word picture of how the tempo should draw to a close, as would an expert helmsman allow the ship’s momentum to stop just as it taps the dock. One parting moment is provided to savor the woodwinds closing phrase from CANTIQUE de NOEL. Robert Myers S.D.G. INSTRUMENTATION Fl 1,2; Oboe 1,2; Bb Cl 1,2 ; Bsn 1,2 Hn in F 1/2, 3/4; C Tpt 1,2 (Opt Bb Tpt 1,2); Tbn 1, 2; Tuba Timpani Perc. 1 (cymbals, tam-tam, vibraphone) Perc. 2 (chimes, snare) Perc. 3 (concert toms (4), bass drum) Vln 1,2; Vla 1,2; VC; DB
$75.00
Collective composition by Borodin, Cui, Liadov, Rimsky-Korsakov - 24 Variations with Finale on an un
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Orchestre
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INTERMÉDIAIRE
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Alexander Borodin, Cesar Anton
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Arkady Leytush
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Collective composition by Boro
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1008363 Composed by Alexander Borodin, Cesar Antonovich Cui, Liadov, and Nikolay Andreyevich Rimsky-Korsakov. Arrange...
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Full Orchestra - Level 3 - SKU: A0.1008363 Composed by Alexander Borodin, Cesar Antonovich Cui, Liadov, and Nikolay Andreyevich Rimsky-Korsakov. Arranged by Arkady Leytush. Children,Romantic Period. Score and parts. 36 pages. Arkady Leytush #4810761. Published by Arkady Leytush (A0.1008363). The original version of this music was written for piano in 3 hands (teacher and student). I have orchestrated this for a large symphony orchestra. Equally important is participation of a child of 4-5 years old as a soloist, who will be playing on the piano the main theme of Tati-Tati at the beginning and at the end.It all started as a musical joke from Borodin in a circle of his friends-composers: Rimsky-Korsakov, Cui and Lyadov. The joke turned into collective work which resulted into 24 variations with the finale paraphrasing Tati-Tati. I usually tell this story to the audience before performing. 24 Variations with Finale is an composition that is oriented for family and children symphonic concerts, when the educational part is of great importance for the young listeners to understand classical music, the sound and characteristics of individual musical instruments and groups of the orchestra, what development principles are used by each composer, etc. F. Liszt gave the best assessment to this composition. He pointed out to how the composer’s skills of the above named composers cold transform such insignificant musical theme-joke Tati-Tati into a brilliant and vibrant composition!This is the first part of composition with a full name: Borodin, Cui, Lyadov, Rimsky-Korsakov - PARAPHRASES on an Unchanged Theme Tati-Tati, 24 Variations with Finale and 9 Musical Pieces: Tarantella, Galop, Fugetta B-A-C-H, Waltz, Cortege, Lullaby, Marche Funebre, Requiem, Carillon, orchestrated by Arkady Leytush
$40.00
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What It Used To Be