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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
You Are There
Non classifié
1 379
Piano & claviers
Piano seul
338
Piano, Voix et Guitare
143
Piano, Voix
98
Orgue
46
Instruments en Do
16
Piano Facile
12
1 Piano, 4 mains
11
Accompagnement Piano
10
Piano Trio: piano, violon, violoncelle
8
2 Pianos, 4 mains
6
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Orgue, Piano (duo)
1
+ 7 instrumentations
Retracter
Guitares
Guitare notes et tablatures
91
Basse electrique
60
Guitare
50
2 Guitares (duo)
19
Ukulele
11
Ligne De Mélodie, (Paroles) et Accords
10
4 Guitares (Quatuor)
10
Mandoline
5
Piano, Guitare (duo)
3
3 Guitares (trio)
2
Ensemble de guitares
2
Guitare, Violon, Violoncelle (trio)
1
Dulcimer
1
Banjo
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
194
Chorale 3 parties
67
Voix Alto, Piano
35
Chorale TTBB
31
Chorale SSAA
29
Voix Tenor
25
Voix Soprano
24
Chorale 2 parties
23
Voix Baryton, Piano
20
Voix duo
5
Voix duo, Piano
4
Chorale Unison
3
Voix haute
2
Voix Tenor, Piano
1
Voix basse, Piano
1
+ 10 instrumentations
Retracter
Vents
2 Saxophones (duo)
618
Saxophone, Clarinette (duo)
319
2 Clarinettes (duo)
266
Clarinette, Violon (duo)
224
2 Flûtes traversières (duo)
217
Clarinette, Trompette (duo)
190
Flûte, Clarinette (duo)
123
2 Hautbois (duo)
122
Hautbois, Clarinette (duo)
116
Clarinette et Alto
115
Hautbois, Basson (duo)
114
Flûte, Violon
113
Flûte, Saxophone (duo)
109
Hautbois, Flûte
95
Flûte, Trompette (duo)
89
Flûte, Alto (duo)
88
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
66
Quintette de Saxophone: 5 saxophones
63
Flûte traversière et Piano
62
Hautbois, Piano (duo)
36
Clarinette et Piano
36
Flûte à Bec
34
Saxophone Alto et Piano
29
Ensemble de Clarinettes
25
Saxophone Soprano et Piano
23
Saxophone Tenor et Piano
23
Flûte, Hautbois, Clarinette, Basson
22
Ensemble de Flûtes
22
Clarinette
20
Flûte traversière
16
Ensemble de saxophones
16
Flûte et Guitare
15
Quatuor de Saxophones: 4 saxophones
15
Quintette de Flûte : 5 flûtes
14
Flûte, Hautbois (duo)
12
Flûte à bec Soprano
11
Flûte, Violon, Piano
10
Hautbois, violon (duo)
10
Quatuor de Clarinettes: 4 clarinettes
9
Hautbois (partie séparée)
9
Saxophone Baryton, Piano
8
Quatuor de Flûtes : 4 flûtes
8
Trio de Flûtes: 3 flûtes
7
Saxophone Alto
7
Flute, harpe et violon
7
Flûte, Violoncelle
6
2 Flûtes traversières, Piano
6
3 Clarinettes (trio)
6
Cor anglais, Piano
6
3 Saxophones (trio)
5
Clarinette Basse, Piano
5
Saxophone Tenor
5
Flûte, Clarinette, Piano (trio)
5
Clarinette, Violoncelle (duo)
4
Cor Anglais
4
Saxophone (partie séparée)
4
Clarinette, Guitare (duo)
4
2 Clarinettes, Piano
4
2 Hautbois, Piano
3
Clarinette, Harpe (duo)
3
3 Flûtes à bec (trio)
3
Quintette de Clarinettes: 5 clarinettes
2
Cor anglais, Guitare (duo)
2
Saxophone et Guitare
2
Flûte, Hautbois, Piano (trio)
2
Flûte à bec Tenor
2
Harmonica
1
Clarinette, Trombone (duo)
1
Clarinette, Basson (duo)
1
Flûte, Violoncelle, Guitare
1
Instruments en Mib
1
Clarinette Basse
1
Flûte à bec Soprano, Piano
1
2 Flûtes traversières, Harpe
1
Flûte, Violoncelle, Piano (trio)
1
Flûte, trombone et piano
1
Flûte, Hautbois, Clarinette (trio)
1
Hautbois
1
Flûte, Clarinette et Basson
1
Flûte irlandaise
1
Flûte, Hautbois, Basson
1
Ocarina
1
Flûte à bec Alto, Piano
1
2 Flûte à bec (duo)
1
Hautbois, Clarinette et Piano (Trio)
1
+ 80 instrumentations
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Cuivres
Trompette, Saxophone (duo)
222
Trompette, Trombone (duo)
115
2 Trombones (duo)
113
2 Trompettes (duo)
106
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
69
Quatuor de Cuivres : 2 trompettes, trombone, tuba
48
Ensemble de Trompettes
39
Trompette, Piano
22
Trombone et Piano
18
Trompette
14
Cor et Piano
12
Ensemble de Trombones
11
Quatuor de Cuivres
9
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Trombone
7
2 Cors (duo)
7
Euphonium, Piano (duo)
6
3 Trompettes (trio)
6
Cor anglais, Piano
6
Cor Anglais
4
2 Cors, Piano
3
Quatuor de cuivres: 4 trompettes
3
Quatuor de cuivres: 4 cors
2
Quatuor de cuivres: 4 trombones
2
Trompette (partie séparée)
2
2 Trompettes, Clavier (piano ou orgue)
2
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
2
Cor
2
Cor anglais, Guitare (duo)
2
Euphonium
2
4 Tubas
1
Tuba
1
Trombone basse
1
3 Trombones (trio)
1
Bass Clef Instruments
1
Trio de Cuivres
1
Trompette, Violoncelle et Piano
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
3 Cors (trio)
1
Trompette, Euphonium (duo)
1
Tuba et Piano
1
Instruments en Sib
1
+ 37 instrumentations
Retracter
Cordes
Harpe
413
Violon, Violoncelle (duo)
241
Quatuor à cordes: 2 violons, alto, violoncelle
217
2 Altos (duo)
140
2 Violons (duo)
132
Violon, Alto (duo)
129
Violon
115
2 Violoncelles (duo)
113
Trio à Cordes: violon, alto, violoncelle
110
Violon et Piano
58
Quintette à cordes: 2 violons, alto, violoncelle, basse
36
Alto, Piano
31
Violoncelle, Piano
28
Harpe, Violon (duo)
26
Trio à Cordes: 2 violons, violoncelle
18
Violoncelle
17
2 Harpes (duo)
12
Ensemble de Violons
9
Ensemble d'Altos
9
Alto seul
9
4 Violoncelles
6
Trio à cordes: 3 violins
6
Violoncelle, Contrebasse (duo)
5
Flûte, Contrebasse (duo)
5
Violon, Guitare (duo)
4
Trio à Cordes: 3 violoncelles
3
2 Violons, Piano
3
Trio à Cordes: 2 violons, alto
3
Contrebasse, Piano (duo)
3
Harpe, Voix
3
Harpe, Flûte (duo)
3
2 Violoncelles, Piano
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Violoncelle , Guitare (duo)
2
2 Altos, Piano
2
Alto, Violoncelle (duo)
2
Quatuor à cordes : 4 altos
2
4 Contrebasses
1
Violon, Clarinette, Piano (trio)
1
Alto et Harpe
1
Alto (partie séparée)
1
Trio à cordes: 3 altos
1
Harpe et Piano
1
Contre Basse
1
Violon (partie séparée)
1
Ensemble de Violoncelles
1
Quatuor à cordes: 4 violons
1
+ 42 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
139
Orchestre d'harmonie
74
Ensemble Jazz
71
Orchestre
45
Ensemble de cuivres
29
Cloches
23
Orchestre de chambre
10
Fanfare
10
Jazz combo
7
Ensemble de Percussions
4
Batterie
1
2 Xylophones
1
Marimba
1
Vibraphone
1
+ 9 instrumentations
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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
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EUPHONIUM
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FLUTE A BEC
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10 partitions trouvées
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1
Piano Concerto No. 1 - Score Only
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - Score O
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Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Mar...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan MarÃa Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg
$25.00
Piano Concerto No. 1 - SECOND movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - SECOND
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Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
Piano Concerto No. 1 - FIRST movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - FIRST m
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan MarÃa Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
Piano Concerto No. 1 - THIRD movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Contemporain
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - THIRD m
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Mar...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here
$33.00
The Christmas Song (chestnuts Roasting On An Open Fire)
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Orchestre de chambre
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INTERMÉDIAIRE
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Nat Cole With N
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Kyle Pudenz
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The Christmas Song
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ViolinVagabond Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.845993 By Nat Cole With N. Riddle Orch. By Mel Torme and Robert Wells. Arranged by Kyle Pudenz. Christmas,Classica...
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Chamber Orchestra - Level 3 - SKU: A0.845993 By Nat Cole With N. Riddle Orch. By Mel Torme and Robert Wells. Arranged by Kyle Pudenz. Christmas,Classical,Holiday,Standards,Traditional. Score and parts. 22 pages. ViolinVagabond Music #6696667. Published by ViolinVagabond Music (A0.845993). There are over 500 arrangements of this tune for sale on this site, but there is exactly ONE reason you should choose this one over any of the rest of them. It is in THE KEY OF C!! As advertised, you will find absolutely no, none, zero, zilch, NADA! accidentals in the key signature. That said, the tune is pretty chromatic as you well know, so there will of course be ample accidentals, marked clearly & appropriately as needed. This key is a particularly good choice for a baritone (lower octave) or alto (higher octave) soloist, but would also work great with any sort of instrumental soloist as well. It's pretty much the version of this tune you know and love, with a nice little instrumental break right before the last verse. No frills, but the lines you need to hear are there.Difficulty level - A professional or college orchestra could sight read this at a glance. High schoolers might take a rehearsal or two, but can totally handle it as long as the concertmaster can grab a high F on that opening fermata.Performance time - 3 minutes, right on the nose (at which Jack Frost may or may not be nipping...)Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond.
$49.99
Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Karl Friedrich Abel
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Guido Menestrina
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Karl Friedrich Abel - Sinfonia
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Guido Menestrina
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido ...
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Chamber Orchestra - Level 3 - SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido Menestrina #122893. Published by Guido Menestrina (A0.828700). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Adagio Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse, tacet on 2nd movement), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. Follow the score on youtube: https://www.youtube.com/watch?v=_urGVpH7Pls.
$7.99
Scarborough Affair
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Orchestre de chambre
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INTERMÉDIAIRE
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Phil Thrift
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Phil Thrift
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Scarborough Affair
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Phil Thrift
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.955747 Composed by Phil Thrift. Arranged by Phil Thrift. 20th Century,Folk,Jazz. Score and parts. 80 pages. Phil T...
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Chamber Orchestra - Level 3 - SKU: A0.955747 Composed by Phil Thrift. Arranged by Phil Thrift. 20th Century,Folk,Jazz. Score and parts. 80 pages. Phil Thrift #6674855. Published by Phil Thrift (A0.955747). If you’re looking for a respectable, for the listener undemanding, arrangement of the well-known English folk song Scarborough Fair, then this version may not be for you. Scarborough Affair is a refreshing new take on the original: The familiar melody is never heard in its entirety, there are jazzy harmonies and jazzy syncopations, 5/8 and 7/8 measures, and the arrangement isn’t even in the 3/4 time of the original song. When a 3/4 section does finally appear, featuring a solo for your cor anglais player, the listener gets to hear a variation on the well-known tune.This arrangement is the chamber orchestra edition of the original arrangement I wrote for a wind ensemble and has parts for the following instruments:3 flutes (3rd flute doubling piccolo)2 oboesCor anglais2 Bb clarinets2 bassoonsTrumpet (C and Bb parts included)TromboneHarpsichord doubling pianoStringsYour horn and percussion players can take a break and you may wish to reduce the number of strings.
$26.99
Metamorphosis for solo flute, solo pedal or lever harp, and strings
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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Adrienne Inglis
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Metamorphosis for solo flute,
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Adrienne Inglis
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.953627 Composed by Adrienne Inglis (ASCAP). Contemporary. Score and parts. 51 pages. Adrienne Inglis (ASCAP) #6383...
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Chamber Orchestra - Level 3 - SKU: A0.953627 Composed by Adrienne Inglis (ASCAP). Contemporary. Score and parts. 51 pages. Adrienne Inglis (ASCAP) #6383557. Published by Adrienne Inglis (ASCAP) (A0.953627). Celebrate women scientists!Metamorphosis (2019) by Adrienne Inglis (ASCAP) for flute, harp, and string orchestra, commissioned by Balcones Community Orchestra, celebrates the life and work of Maria Sibylla Merian (1647-1717), pioneering entomologist, naturalist, and artist.Duration 5:30 minutes.Commissioned by the Balcones Community Orchestra of Austin, Texas, Metamorphosis (2019) by Adrienne Inglis for solo flute, solo harp, and string orchestra, honors the life and work of pioneering entomologist, naturalist, and artist Maria Sibylla Merian (1647-1717). As she carefully documented in illustrated detail the life cycle of so many insects, Metamorphosis musically follows a butterfly from adult, egg, larva, pupa, and adult. The piece opens with an ostinato pattern in the strings over which the flute and harp play fluttering modal melodies. The strings and harp represent the egg stage with minimalistic layers of a single pitch. To recognize Merian’s time in Suriname and her discovery of many insect species there, a cheerful tune fashioned after traditional Arawak folk songs informs the busy larvae in the caterpillar canon. A bit of contemplative dorian polyphony laced with metamorphic machinations demonstrate the remarkable transformation of the pupa as well as Merian’s time at a devout Labadist religious commune. The butterfly emerges from the pupa with a flute/harp cadenza and then the strings underscore the adult butterfly with a return of the ostinato. The piece ends with the same ostinato as the beginning such that the piece could loop seamlessly as in a true life cycle.This performance does not include the revisions made in this version of the music: https://youtu.be/GIjQpkXl6Uc
$9.99
Happy We Chorus orchestral parts and score
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Orchestre de chambre
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INTERMÉDIAIRE
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Opera
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Classique
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Kim Kirkman
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Kim Kirkman
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Happy We Chorus orchestral par
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Kim Kirkman
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1410579 By Kim Kirkman. By George Frideric Handel. Arranged by Kim Kirkman. Baroque,Opera. 7 pages. Kim Kirkman #9...
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Chamber Orchestra - Level 3 - SKU: A0.1410579 By Kim Kirkman. By George Frideric Handel. Arranged by Kim Kirkman. Baroque,Opera. 7 pages. Kim Kirkman #992999. Published by Kim Kirkman (A0.1410579). There are several versions of Acis and Galatea. In some the orchestral parts do not include the 'Happy We' chorus that happens instead of the da capo of the aria.I have written out the parts here.Includes score and correct bar numbers (replacing bars 53 onwards).You're welcome! haha.
$9.99
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