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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
3 AM
Non classifié
744
Piano & claviers
Piano, Voix
603
Piano seul
450
Piano, Voix et Guitare
165
Piano Facile
147
Orgue
38
Accompagnement Piano
29
Instruments en Do
26
Piano grosses notes
20
1 Piano, 4 mains
11
Accordéon
2
Piano (partie séparée)
2
Orgue, Trompette (duo)
2
Piano Trio: piano, violon, violoncelle
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Clavier
1
2 Pianos, 4 mains
1
+ 11 instrumentations
Retracter
Guitares
Guitare notes et tablatures
61
Ligne De Mélodie, (Paroles) et Accords
55
Guitare
51
Ukulele
31
Basse electrique
17
Paroles et Accords
13
2 Guitares (duo)
5
Ensemble de guitares
2
4 Guitares (Quatuor)
2
3 Guitares (trio)
2
Piano, Guitare (duo)
1
Mandoline
1
+ 7 instrumentations
Retracter
Voix
Chorale SATB
297
Chorale 3 parties
192
Chorale TTBB
105
Pack Instrumental pour Chorale
35
Chorale 2 parties
23
Voix Alto, Piano
20
Chorale SSAA
20
Voix Soprano, Piano
19
Voix Tenor, Piano
18
Voix Baryton, Piano
16
Chorale Unison
15
Voix seule
10
Voix haute
4
Voix duo, Piano
3
Chorale
3
Voix duo
2
Voix basse, Piano
1
Voix moyenne, Piano
1
Chorale SSATTB
1
+ 14 instrumentations
Retracter
Vents
Flûte traversière
53
Flûte, Hautbois, Clarinette, Basson
42
Flûte à Bec
32
Flûte traversière et Piano
30
Saxophone
28
Quatuor de Saxophones: 4 saxophones
26
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
21
Hautbois
18
Saxophone (partie séparée)
18
Hautbois (partie séparée)
17
Saxophone Alto
17
Quatuor de Clarinettes: 4 clarinettes
17
Clarinette et Piano
16
Clarinette
15
Saxophone Tenor
14
Flûte et Guitare
14
Saxophone Alto et Piano
14
Hautbois, Piano (duo)
14
2 Flûtes traversières (duo)
13
2 Saxophones (duo)
10
Quintette de Saxophone: 5 saxophones
9
Saxophone Tenor et Piano
8
2 Clarinettes (duo)
7
Clarinette, Guitare (duo)
6
Quatuor de Flûtes : 4 flûtes
6
Saxophone Soprano et Piano
6
Trio de Flûtes: 3 flûtes
5
Hautbois, Basson (duo)
4
Flûte, Clarinette (duo)
4
Quintette de Flûte : 5 flûtes
4
Clarinette, Basson (duo)
4
Saxophone Baryton, Piano
4
Saxophone et Guitare
3
Flute (partie séparée)
3
Flûte, Trompette (duo)
3
Clarinette, Violon (duo)
3
Saxophone Soprano
3
Ensemble de Clarinettes
3
Clarinette (partie séparée)
3
Flûte, Alto et Piano
3
3 Clarinettes (trio)
3
Ensemble de Flûtes
3
Saxophone, Clarinette (duo)
2
Flûte, Hautbois, Clarinette (trio)
2
Flûte, Violon et Violoncelle
2
2 Saxophones, Piano
2
3 Saxophones (trio)
2
Clarinette, Harpe (duo)
2
Cor anglais, Guitare (duo)
2
Saxophone Baryton
2
Flûte à bec Soprano
2
Ensemble de saxophones
2
Flûte à bec Alto
2
Flûte, Violon, Piano
1
Flûte, Clarinette, Violon (trio)
1
4 Hautbois
1
Flûte, Basson et Piano
1
Flûte, Clarinette, Piano (trio)
1
Cor anglais, Piano
1
Clarinette, Alto et Piano (trio)
1
Flûte, trombone et piano
1
Hautbois, Clarinette (duo)
1
Cor anglais et Harpe (duo)
1
Clarinette Basse, Piano
1
Quintette de Clarinettes: 5 clarinettes
1
Clarinette et Alto
1
Flûte, Violon
1
2 Cors Anglais Et Pianoforte
1
5 Flûtes à bec
1
Flûte, Hautbois, Violon
1
2 Clarinettes, Piano
1
Flûte, Hautbois, Basson
1
+ 67 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
45
Ensemble de Trompettes
34
Trompette
29
Trombone et Piano
19
Trombone
14
Quatuor de Cuivres : 2 trompettes, trombone, tuba
13
Cor et Piano
12
Trompette, Piano
9
Cor
7
Quatuor de cuivres: 4 trombones
7
Quatuor de Cuivres
6
2 Cors (duo)
5
Quatuor de cuivres: 4 cors
5
Trompette, Trombone (duo)
4
2 Trompettes (duo)
4
Quatuor de cuivres: 4 trompettes
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
2 Trombones (duo)
3
Trompette (partie séparée)
3
Ensemble de Trombones
2
3 Trompettes (trio)
2
Trombone (partie séparée)
2
Trio de Cuivres
2
Cor anglais, Guitare (duo)
2
Euphonium
2
Tuba
2
Bass Clef Instruments
1
Tuba et Piano
1
Cor (partie séparée)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
2 Trompettes, Clavier (piano ou orgue)
1
Cor anglais, Piano
1
Trombone basse
1
Trombone, Tuba (duo)
1
Euphonium, Piano (duo)
1
Cor anglais et Harpe (duo)
1
Trompette, violon (duo)
1
2 Cors Anglais Et Pianoforte
1
4 Euphoniums
1
+ 34 instrumentations
Retracter
Cordes
Violon
76
Quatuor à cordes: 2 violons, alto, violoncelle
48
Violon et Piano
41
Violoncelle
26
Violoncelle, Piano
26
Alto, Piano
15
Violon, Violoncelle (duo)
12
Trio à Cordes: violon, alto, violoncelle
10
Alto seul
10
Violon, Alto (duo)
7
2 Violons (duo)
7
Alto, Violoncelle (duo)
6
Harpe
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
2 Violoncelles (duo)
5
Violon, Guitare (duo)
4
Trio à cordes: 3 violins
3
2 Altos (duo)
3
Ensemble de Violons
3
Alto (partie séparée)
3
Alto, Guitare (duo)
3
Contrebasse, Piano (duo)
3
4 Violoncelles
2
Harpe, Voix
2
Violon (partie séparée)
2
Trio à Cordes: 3 violoncelles
2
Harpe, Violon (duo)
1
Trio à cordes
1
2 Violons, Piano
1
Quatuor à cordes: 4 violons
1
Alto et Harpe
1
Harpe, Violoncelle (duo)
1
Contre Basse
1
Harpe, Flûte (duo)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violoncelle , Guitare (duo)
1
Harpe et Piano
1
4 Contrebasses
1
Trio à cordes: 3 altos
1
Piano Trio: Violon, Alto, Piano
1
Trio à Cordes: 2 violons, violoncelle
1
+ 36 instrumentations
Retracter
Orchestre & Percussions
Ensemble de cuivres
47
Orchestre d'harmonie
37
Fanfare
32
Orchestre
31
Orchestre à Cordes
25
Ensemble Jazz
24
Cloches
18
Batterie
10
Orchestre de chambre
10
Jazz combo
9
Percussion (partie séparée)
3
Batterie (partie séparée)
3
Ensemble de Percussions
3
Marimba
1
Piano et Orchestre
1
Xylophone, Piano
1
+ 11 instrumentations
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TRI ET FILTRES
TRI ET FILTRES
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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
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PIANO
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TROMPETTE
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FUNK
GOSPEL - SPIRITUEL -…
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JAZZ MANOUCHE - SWIN…
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KLEZMER - JUIVE
LATIN - BOSSA - WORL…
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METAL - HARD
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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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3 AM
Orchestre de chambre
Partitions à imprimer
10 partitions trouvées
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1
(I Am A Poor) Wayfaring Stranger- orchestra (small)
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Orchestre de chambre
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INTERMÉDIAIRE
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Traditional
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John Hoesly
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(I Am A Poor) Wayfaring Strang
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PRS&B
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.753642 Composed by Traditional. Arranged by John Hoesly. Country,Film/TV,Folk. 36 pages. PRS&B #5218755. Published...
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Chamber Orchestra - Level 3 - SKU: A0.753642 Composed by Traditional. Arranged by John Hoesly. Country,Film/TV,Folk. 36 pages. PRS&B #5218755. Published by PRS&B (A0.753642). Wayfaring Stranger- for small orchestra. Traditional American Folk Song arranged by John Hoesly. Also known as Poor Wayfaring Stranger and I Am A Poor Wayfaring Stranger, this song probably originated in the early 19th century. It has been recorded numerous times, but most significantly appears in the 2019 film 1917 where a soldier sings this plaintive melody to his fellow comrades just before going into battle. This arrangement is divided into two sections. Section one is a very haunting scenario, very plain with insistent harmonic devices. The second section is a more elaborate version with more harmonic movement and tempo extensions to create more drama. It ends as plaintively as it begins.
$50.00
(I Am A Poor) Wayfaring Stranger- Solo Voice (High Voice) and orchestra
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Orchestre de chambre
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INTERMÉDIAIRE
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Traditional
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j
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(I Am A Poor) Wayfaring Strang
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PRS&B
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.753641 Composed by Traditional. Arranged by j. Contemporary,Film/TV,Folk,Traditional. 43 pages. PRS&B #5222665. Pu...
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Chamber Orchestra - Level 3 - SKU: A0.753641 Composed by Traditional. Arranged by j. Contemporary,Film/TV,Folk,Traditional. 43 pages. PRS&B #5222665. Published by PRS&B (A0.753641). Wayfaring Stranger- for Solo Voice (High Voice) and small orchestra. Traditional American Folk Song arranged by John Hoesly. Also known as Poor Wayfaring Stranger and I Am A Poor Wayfaring Stranger, this song probably originated in the early 19th century. It has been recorded numerous times, but most significantly appears in the 2019 film 1917 where a soldier sings this plaintive melody to his fellow comrades just before going into battle. This arrangement is divided into two sections. Section one is a very haunting scenario, very plain with insistent harmonic devices. The second section is a more elaborate version with more harmonic movement and tempo extensions to create more drama. It ends as plaintively as it begins.
$50.00
I am Thine , O Lord arr. By Chidi Oku
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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F
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Chidiebere Oku
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I am Thine , O Lord arr. By Ch
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CIDUC
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.696699 By F.J . Crosby. By W.H. Doane. Arranged by Chidiebere Oku. Classical. Score and parts. 7 pages. CIDUC #304...
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Chamber Orchestra - Level 3 - SKU: A0.696699 By F.J . Crosby. By W.H. Doane. Arranged by Chidiebere Oku. Classical. Score and parts. 7 pages. CIDUC #304251. Published by CIDUC (A0.696699). Hymn Orchestral variation.
$2.99
Where am I? for string quartet and flute
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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David Warin Solomons
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Where am I? for string quartet
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.576513 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 18 pages. David Warin Solomon...
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Chamber Orchestra - Level 3 - SKU: A0.576513 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 18 pages. David Warin Solomons #27327. Published by David Warin Solomons (A0.576513). Inspired by the poem Care Home by my father SN Solomons,
$12.00
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
Orchestraining No. 4 [Orchestra]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan Maria Solare
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Juan Maria Solare
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Orchestraining No. 4 [Orchestr
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1432026 By Juan Maria Solare. By Juan Maria Solare. Arranged by Juan Maria Solare. 20th Century,Classical,Contempo...
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Chamber Orchestra - Level 3 - SKU: A0.1432026 By Juan Maria Solare. By Juan Maria Solare. Arranged by Juan Maria Solare. 20th Century,Classical,Contemporary,Historic,Instructional. 15 pages. Juan Maria Solare #1012506. Published by Juan Maria Solare (A0.1432026). Orchestraining is a cycle of orchestral studies, each focusing 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 fourth etude focuses on dynamics: crescendi and diminuendi, exploring the extremes forte vs piano and gradually changing from one to the other one.
$5.00
Orchestraining No. 2 [Orchestra]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan Maria Solare
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Orchestraining No. 2 [Orchestr
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1432016 By Juan Maria Solare. By Juan Maria Solare. 20th Century,Classical,Contemporary,Historic,Instructional. 18...
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Chamber Orchestra - Level 3 - SKU: A0.1432016 By Juan Maria Solare. By Juan Maria Solare. 20th Century,Classical,Contemporary,Historic,Instructional. 18 pages. Juan Maria Solare #1012496. Published by Juan Maria Solare (A0.1432016). Orchestraining is a cycle of orchestral studies, each focusing 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.This second orchestral etude focus on tuning / intonation.
$5.00
Three Laments of Heloise for Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Dosia McKay
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Three Laments of Heloise for C
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Gavia Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #572...
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Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00
Concerto Grosso (2017) for chamber orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Allegro
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Concerto Grosso
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869525 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Romantic Period. Score and parts. 78 pages...
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Chamber Orchestra - Level 4 - SKU: A0.869525 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Romantic Period. Score and parts. 78 pages. Thomas Oboe Lee #3112103. Published by Thomas Oboe Lee (A0.869525). Instrumentation: 2222-2200-timp-stringsSteve Laven, cellist with the Boston Pro Arte Chamber Orchestra, contacted me a month ago and asked if I would be interested in writing a work to help celebrate the 40th Anniversary of the founding of the Pro Arte Chamber Orchestra. I said, Sure!!! He said it would be nice if I would consider a concerto grosso in which the principal players of the orchestra would each get a feature. I agreed that that would be a fine idea. So, on June 18th, 2017, I started working on it. And since I am on summer vacation from teaching I was able to finished the 557-measure work on July 2nd, fifteen days after I started. In 2018 just before I made plans to get the work recorded I made some revisions. One major change was that I cut the fourth movement out completely. It is now a mere 482 measures long. The work is now in three movements. 1. Introduction; Allegro 2. Presto 3. Largo Duration: ca. 17 minutes.YouTube link: https://youtu.be/xIMSFEd0p8oBandcamp link: https://thomasoboelee.bandcamp.com/album/concerto-grosso-2017PS: This is the sixth work that the PACO has performed of my music. 1. Phantasia for Elvira Shatayev (1981) with soprano Judith Kellock and Newell Hendricks.2. Harp Concerto (1985) with Ann Hobson-Pilot and Gunther Schuller.3. Symphony No. 1 ... Fallen Angels (1993, rev. 1995) with Gunther Schuller.4. Forró (1998) with Gunther Schuller.5. Daphne ... An Imaginary Ballet (2015) with Beatrice Affron.6. Concerto Grosso (2017) with Kevin Rhodes.
$9.99
Triplo concerto barocco
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Orchestre de chambre
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Hans Werner Henze
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Triplo concerto barocco
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Schott Music - Digital
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SheetMusicPlus
Chamber Orchestra - SKU: S9.Q5767 For Chamber Orchestra. Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadabl...
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Chamber Orchestra - SKU: S9.Q5767 For Chamber Orchestra. Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 10 minutes. Schott Music - Digital #Q5767. Published by Schott Music - Digital (S9.Q5767). Hans Werner Henze used original music by Scarlatti, Handel and Vivaldi to evoke the baroque lifestyle for a TV film of José Montes-Baquer based on the novella ’Concierto Barocco’ by the Cuban Alejo Carpentier; the film music of L’amour à mort by the French master director Alain Resnais was turned into a sonata by Henze.Picc. · 2 · 1 · Cornetto (oder Ob. d'am. oder Engl. Hr.) · 0 · 0 - 0 · 1 · 0 · 0 - P. S. (Marimba · 4 hg. Beck. · Crot. · 3 Gongs · Schellentr. · 2 Bong. · Tomt. · 2 afrik. Tr. · Trinidad Steel Drum · Tempelbl. · Schüttelrohr) (4 Spieler) - Cemb. (konzertierend) · Klav. (konzertierend) · Org. (konzertierend) · 1 Trumscheit - Str.
$29.99
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