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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
One Moment In Time
Non classifié
228
Piano & claviers
Piano seul
158
Piano Facile
31
Piano, Voix
28
Piano, Voix et Guitare
12
Instruments en Do
7
1 Piano, 4 mains
7
Piano grosses notes
4
Piano Quatuor: piano, violon, alto, violoncelle
4
Orgue
3
Piano Trio: piano, violon, violoncelle
3
2 Pianos, 4 mains
3
Ensemble d'Accordéons
1
+ 7 instrumentations
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Guitares
Guitare
13
Basse electrique
11
Guitare notes et tablatures
8
Ligne De Mélodie, (Paroles) et Accords
2
Ukulele
1
Piano, Guitare (duo)
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
47
Chorale 3 parties
22
Chorale TTBB
13
Chorale SSAA
9
Chorale 2 parties
6
Voix seule
4
Voix duo, Piano
2
Voix duo
2
Chorale Unison
1
+ 4 instrumentations
Retracter
Vents
2 Saxophones (duo)
38
Saxophone Alto et Piano
36
Hautbois, Piano (duo)
31
Saxophone
30
Quatuor de Saxophones: 4 saxophones
30
Flûte traversière
28
Clarinette
22
Quintette de Saxophone: 5 saxophones
20
Saxophone Alto
14
Flûte traversière et Piano
14
Hautbois, Violoncelle
13
Clarinette et Piano
13
2 Flûtes traversières (duo)
12
Saxophone Soprano et Piano
12
Saxophone Baryton, Piano
12
2 Clarinettes (duo)
11
Saxophone (partie séparée)
11
Hautbois (partie séparée)
11
Saxophone Tenor et Piano
11
Saxophone Tenor
10
Saxophone, Clarinette (duo)
6
2 Hautbois (duo)
6
Saxophone Baryton
5
Flûte, Hautbois, Clarinette, Basson
5
Saxophone Soprano
5
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Clarinette, Trompette (duo)
4
Hautbois
4
Clarinette, Violon (duo)
4
3 Saxophones (trio)
4
Hautbois, Basson (duo)
3
Flute (partie séparée)
3
Clarinette (partie séparée)
3
Quatuor de Flûtes : 4 flûtes
3
Flûte, Clarinette (duo)
2
Clarinette et Alto
2
Flûte, Alto (duo)
2
Flûte, Saxophone (duo)
2
Hautbois, Clarinette (duo)
2
Quatuor de Clarinettes: 4 clarinettes
2
Cor anglais, Piano
2
Flûte, Trompette (duo)
2
Flûte, Violon
2
Ensemble de Flûtes
2
3 Clarinettes (trio)
2
Hautbois, Flûte
2
Flûte et Guitare
1
Trio de Flûtes: 3 flûtes
1
Ensemble de saxophones
1
Clarinette Basse, Piano
1
Saxophone et Piano
1
Clarinette, Guitare (duo)
1
Ensemble de Clarinettes
1
Cor anglais, Guitare (duo)
1
+ 49 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
33
Trombone
26
Trompette
21
Trombone et Piano
21
Quatuor de Cuivres: 2 trompettes, Cor, trombone
14
Cor et Piano
13
Trompette, Piano
12
Tuba et Piano
12
Quatuor de Cuivres : 2 trompettes, trombone, tuba
12
Cor
11
2 Trombones (duo)
9
Tuba
9
2 Trompettes (duo)
6
Trompette, Saxophone (duo)
4
Quatuor de Cuivres
4
2 Cors (duo)
4
Trompette, Trombone (duo)
3
Trompette (partie séparée)
3
Quatuor de cuivres: 4 trombones
2
2 Tubas (duo)
2
Cor anglais, Piano
2
Trombone (partie séparée)
2
4 Tubas
1
Trombone basse et Piano
1
Trombone, Tuba (duo)
1
2 Euphoniums et 2 Tubas
1
Tuba (partie séparée)
1
Cor anglais, Guitare (duo)
1
Trompette, Violoncelle (duo)
1
Cor (partie séparée)
1
+ 25 instrumentations
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Cordes
Violon et Piano
41
Violon
31
Quatuor à cordes: 2 violons, alto, violoncelle
25
Violoncelle
17
Alto, Piano
16
Violoncelle, Piano
14
Violon, Basson (duo)
11
Alto seul
11
Violon, Violoncelle (duo)
10
Contrebasse, Piano (duo)
9
Contre Basse
9
2 Violoncelles (duo)
7
2 Altos (duo)
6
2 Violons (duo)
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
Harpe
3
Trio à Cordes: violon, alto, violoncelle
2
2 Contrebasses (duo)
2
4 Violoncelles
2
Quatuor à cordes : 4 altos
2
Violon, Alto (duo)
2
Violoncelle , Guitare (duo)
1
Alto (partie séparée)
1
Alto et Harpe
1
Piano Trio: Violon, Alto, Piano
1
Trio à Cordes: 2 violons, violoncelle
1
Violon, Clarinette, Piano (trio)
1
Quatuor à cordes: 4 violons
1
+ 23 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
85
Orchestre
23
Orchestre à Cordes
7
Orchestre de chambre
7
Ensemble Jazz
7
Cloches
5
Fanfare
4
Ensemble de cuivres
4
Jazz combo
3
Percussion (partie séparée)
2
Timbales (partie séparée)
1
Piano et Orchestre
1
Ensemble de Percussions
1
+ 8 instrumentations
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Instruments
ACCORDEON
ALTO
AUTRES INST…
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BASSE
BASSON
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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
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TROMBONE
TROMPETTE
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Vous avez sélectionné:
One Moment In Time
Trio à Cordes: violon, alto, violoncelle
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Mysterious Moment for alto flute and string trio
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by…
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String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.36 €
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Trio à Cordes: violon, alto, violoncelle
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David Warin Solomons
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Mysterious Moment for alto flute and string trio
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David Warin Solomons
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SheetMusicPlus
The Sundials: II; Pereunt et Imputantur (They pass and are counted)
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio - Digital Download SKU: A0.1004149 Composed by Matthew …
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String Ensemble,String Trio - Digital Download SKU: A0.1004149 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 13 pages. Matthew Scott Phillips #3510885. Published by Matthew Scott Phillips (A0.1004149). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.84 €
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Trio à Cordes: violon, alto, violoncelle
#
Matthew Scott Phillips
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The Sundials: II; Pereunt et Imputantur
#
Matthew Scott Phillips
#
SheetMusicPlus
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