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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
A Farewell Song
Non classifié
45
Piano & claviers
Piano, Voix
68
Piano seul
46
Piano, Voix et Guitare
12
Piano Facile
12
Orgue
4
Piano grosses notes
2
Piano Quatuor: piano, 2 violons, violoncelle
2
1 Piano, 4 mains
1
Accordéon
1
+ 4 instrumentations
Retracter
Guitares
Guitare
8
Guitare notes et tablatures
5
Ukulele
2
Paroles et Accords
1
Banjo
1
Mandoline
1
+ 1 instrumentations
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Voix
Chorale SATB
72
Voix Alto, Piano
26
Voix Tenor, Piano
26
Voix Soprano, Piano
26
Voix Baryton, Piano
26
Chorale 3 parties
18
Chorale 2 parties
13
Chorale Unison
12
Voix duo
6
Chorale TTBB
6
Voix duo, Piano
2
Chorale SSAA
2
Voix haute
1
Voix seule
1
Voix moyenne, Piano
1
+ 10 instrumentations
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Vents
Flûte, Hautbois, Clarinette, Basson
8
Clarinette et Piano
6
Quatuor de Clarinettes: 4 clarinettes
6
Quatuor de Saxophones: 4 saxophones
5
Harmonica
5
Flûte à bec Soprano
4
Ocarina
4
Flûte traversière et Piano
3
Flûte traversière
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
Quatuor de Flûtes : 4 flûtes
3
Hautbois, Piano (duo)
3
Hautbois
3
Clarinette
2
Flûte à bec Alto
2
2 Saxophones (duo)
2
Saxophone Tenor et Piano
1
Saxophone Alto et Piano
1
Cor anglais, Guitare (duo)
1
Saxophone Soprano et Piano
1
2 Clarinettes (duo)
1
Flûte, Clarinette et Basson
1
Clarinette, Guitare (duo)
1
Ensemble de Clarinettes
1
Flûte et Guitare
1
Flûte, Clarinette (duo)
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte, Violoncelle
1
Saxophone et Guitare
1
+ 24 instrumentations
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Cuivres
Quatuor de cuivres: 4 trombones
15
Trombone et Piano
4
Trompette, Piano
4
Trombone
4
Cor et Piano
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Tuba
2
Cor
2
Tuba et Piano
2
Trompette
2
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2
Trompette, Cor (duo)
1
Cor anglais, Guitare (duo)
1
Quatuor de Cuivres
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
+ 11 instrumentations
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Cordes
Violon et Piano
10
Harpe
5
Quatuor à cordes: 2 violons, alto, violoncelle
5
Alto, Piano
4
Violoncelle
4
Violoncelle, Piano
4
Violon
3
Trio à Cordes: 2 violons, violoncelle
3
Alto seul
3
Piano Trio: Violon, Alto, Piano
2
2 Violons (duo)
1
Trio à Cordes: 2 violons, alto
1
Violoncelle , Guitare (duo)
1
Violon, Guitare (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
Alto, Guitare (duo)
1
2 Harpes (duo)
1
Contrebasse (partie séparée)
1
+ 13 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
30
Orchestre de chambre
6
Orchestre
4
Marimba
1
Cloches
1
Orchestre à Cordes
1
+ 1 instrumentations
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ACCORDEON
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AUTRES INST…
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BANJO
BASSE
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BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
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SAXOPHONE
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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
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JAZZ MANOUCHE - SWIN…
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Vous avez sélectionné:
A Farewell Song
Orchestre de chambre
Partitions à imprimer
6 partitions trouvées
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Pharoah's Farewell for bassoon and strings
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Orchestre de chambre
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INTERMÉDIAIRE
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David Warin Solomons
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Pharoah's Farewell for bassoon
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.580722 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 31 pages. David Warin Solomon...
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Chamber Orchestra - Level 3 - SKU: A0.580722 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 31 pages. David Warin Solomons #6026329. Published by David Warin Solomons (A0.580722). Based on a musical interlude in the first act and Pharoah's farewell song in the last act of the opera ATON.
$12.00
Hancock Shaker Village (2001) for mezzo-soprano and string quartet
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Hancock Shaker Village
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869267 Composed by Thomas Oboe Lee. 20th Century,Christian,Classical,Contemporary,Romantic Period. Score and parts...
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Chamber Orchestra - Level 4 - SKU: A0.869267 Composed by Thomas Oboe Lee. 20th Century,Christian,Classical,Contemporary,Romantic Period. Score and parts. 43 pages. Thomas Oboe Lee #30957. Published by Thomas Oboe Lee (A0.869267). Program note. First of all, my enormous gratitude to Deborah Leath Rentz for the source material: Songs and the Spirit: Hancock Shaker Village's Musical Legacy, Volume I. Transcriptions of Hancock Hymnal : 1850. In 1997, Mark Ludwig commissioned me to write a work based on a Shaker song. Ms. Rentz provided me with a lovely song, Grateful Remembrance, from her collection. The result was SEPTET: Variations on a Shaker Tune. Hancock Shaker Village is in many ways also a set of variations. It begins with a Prelude of my own devising. For the rest of the work I chose five songs from Ms. Rentz's book which provide a glimpse of a typical day for the inhabitants of this religious community. The first song, Pillar of Fire, greets the dawn and the rising sun. The second song, Glean with Care, is about the orchards and the gardens. The third, Sweet Home, is about the religious life and home. The fourth, Quick, a lively dance number, prays for God's power and grace. The last song, Farewell Dear Crossbearers, is for the dearly departed. The work is played continuously without pause between movements and is dedicated to Mark Ludwig, Deborah Leath Rentz and the Hancock Shaker Village.YouTube link: https://youtu.be/GJowUC7pDfw
$9.99
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
PEACE, MY HEART, from "Across the Wide" for soprano and string ensemble with piano
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Orchestre de chambre
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INTERMÉDIAIRE
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Gabriel Ruiz-Bernal
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PEACE, MY HEART, from "Ac
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Gabriel Ruiz-Bernal
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.893968 Composed by Gabriel Ruiz-Bernal. Contemporary,Musical/Show. Score and parts. 33 pages. Gabriel Ruiz-Bernal ...
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Chamber Orchestra - Level 3 - SKU: A0.893968 Composed by Gabriel Ruiz-Bernal. Contemporary,Musical/Show. Score and parts. 33 pages. Gabriel Ruiz-Bernal #6328079. Published by Gabriel Ruiz-Bernal (A0.893968). PEACE, MY HEART. For soprano and string ensemble with piano. Also available for soprano and piano.(from song cycle Across the Wide: Songs of Farewell)Text by Rabindranath TagoreLevel of difficulty for the voice: IntermediateLevel of difficulty for the pianist: Low intermediateLevel of difficulty for the string ensemble: Low intermediateApproximate length: 3 minutes, 46 secondsPeace, my heart, let the time for the parting be sweet.Let it not be a death but completeness.Let love melt into memory and pain into songs.Let the flight through the sky end in the folding of the wings over the nest.Let the last touch of your hands be gentle like the flower of the night.Stand still, O Beautiful End, for a moment, and say your last words in silence.I bow to you and hold up my lamp to light you on your way.
$40.00
Double Bass Concerto
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Orchestre de chambre
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Gavin Bryars
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Double Bass Concerto
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Schott Music - Digital
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SheetMusicPlus
2.0.1.bcl.1.cbsn-2.0.0.0-timp.2perc(glsp, crot, vib, tub bells, tam-t, b.d)-hp-str(0.0.6.4.2 preferred) solo double bass, optional 3 part bass chorus and chambe...
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2.0.1.bcl.1.cbsn-2.0.0.0-timp.2perc(glsp, crot, vib, tub bells, tam-t, b.d)-hp-str(0.0.6.4.2 preferred) solo double bass, optional 3 part bass chorus and chamber orchestra - SKU: S9.Q47174 (Farewell to St. Petersburg). Composed by Gavin Bryars. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 28 minutes. Schott Music - Digital #Q47174. Published by Schott Music - Digital (S9.Q47174). Russian.This concerto has the unusual addition of an optional male voice choir. Many Russian elements influenced Bryars when he was writing the piece, not least the text for the bass voices which is taken from Glinka’s song cycle Farewell to St Petersburg. Bryars writes ‘The orchestration is quite light throughout, so that the singing quality of the double bass can emerge. The emphasis in terms of tessitura is on the middle register, though in the closing section there is a passage in natural harmonics. Although the piece is not designed to be a virtuoso showpiece, there is a brief cadenza in which the soloist is supported at times by other solo instruments (bass clarinet, viola, cello, bass).’.
$16.99
Barbara Allen for piccolo and orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Reinhold Behringer
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David Warin Solomons
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Barbara Allen for piccolo and
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1470559 By Reinhold Behringer. By Traditional. Arranged by David Warin Solomons. Contemporary,Traditional. 44 page...
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Chamber Orchestra - Level 4 - SKU: A0.1470559 By Reinhold Behringer. By Traditional. Arranged by David Warin Solomons. Contemporary,Traditional. 44 pages. David Warin Solomons #1048222. Published by David Warin Solomons (A0.1470559). An arrangement for piccolo and orchestra of the Barbara Allen folk song with many interesting cadences, harmonies and countermelodies.In Scarlet Town where I was born,There was a fair maid dwelling,Made every youth cry, “Well-a-day”,Her name was Barbara Allen.All in the merry month of May,When green buds they were swelling,Young Willy Grove on his death bed lay,For love of Barbara Allen.He sent his man down unto her then,To the town where she was dwelling.“You must come to my master dear,If your name's Barbara Allen.”So slowly, slowly she came up,And slowly she came nigh him,And all she said when there she came,“Young man I think you’re dying.”[“A dying man, no, no,” said he,“One kiss from thee would cure me.”“One kiss from me thou never shalt have,If your poor heart was breaking.”]He turned his face unto the wall,And death was drawing nigh him,“Adieu, adieu, my dear friends all,And be kind to Barbara Allen.”As she was walking o’er the fields,She heard the dead-bell knellin’;And every stroke did seem to say“Unworthy Barbara Allen!”When he was laid dead in his grave,Her heart was struck with sorrow,“Oh mother, mother make my bed,For I shall die tomorrow.”And on her death bed she lay,She begged to be buried by him,And so repented of the day,That she did e’er deny him.“Farewell”, she said, “You virgins all,And shun the fault I fell in.Hence forth take warning by the fall,Of cruel Barbara Allen.”.
$16.00
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A Farewell Song
