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AT Country
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262
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202
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118
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10
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94
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58
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8
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18
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15
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14
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13
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12
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Violoncelle , Guitare (duo)
2
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2
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1
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1
Harpe, Flûte (duo)
1
Violon, Guitare (duo)
1
Alto, Guitare (duo)
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4 Harpes
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Violoncelle, Orgue
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Piano Trio: Violon, Alto, Piano
1
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82
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35
Orchestre à Cordes
25
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Jazz combo
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Ensemble Jazz
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Fanfare
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Cloches
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Orchestre de chambre
5
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Marimba
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Batterie
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5 partitions trouvées
<
1
When You Say Nothing At All
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Orchestre de chambre
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INTERMÉDIAIRE
#
Country
#
Keith Whitley
#
Stephen M
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When You Say Nothing At All
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SMT Music
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.749733 By Keith Whitley. By Don Schlitz and Paul Overstreet. Arranged by Stephen M. Taylor. Country. Score and par...
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Chamber Orchestra - Level 3 - SKU: A0.749733 By Keith Whitley. By Don Schlitz and Paul Overstreet. Arranged by Stephen M. Taylor. Country. Score and parts. 18 pages. SMT Music #3536859. Published by SMT Music (A0.749733). When You Say Nothing at All is a country song written by Paul Overstreet and Don Schlitz. Keith Whitley first recorded it in 1988 and it hit NO. 1 on the Hot Country Singles Chart. In 1995 Allison Krausse and Union Station released it. It became her first solo top-10 country hit. Song definitely has legs ... I like the Keith Whitley version best. It's a nice Unity Candle song for weddings. My cousin requested it and so I did this arrangement for her singer which put it in lower key.. C major. If you want it for your wedding you can look for me at Sheet Music Plus or SMT Music in Louisville, KY. I can put up another version in your key on this website. This arr. is 2 1/2 min. in length. You can see our performance of it at https://www.youtube.com/watch?v=9XvgJr4JVpQ
$20.00
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
Entre Nous for Strings
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Orchestre de chambre
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DÉBUTANT
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D
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Entre Nous for Strings
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D. M. Gardner Music
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SheetMusicPlus
String Ensemble,String Quintet - Level 1 - SKU: A0.799652 Composed by D. M. Gardner. Concert. Score and parts. 25 pages. D. M. Gardner Music #481035. Pu...
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String Ensemble,String Quintet - Level 1 - SKU: A0.799652 Composed by D. M. Gardner. Concert. Score and parts. 25 pages. D. M. Gardner Music #481035. Published by D. M. Gardner Music (A0.799652). This very popular piece has enjoyed performances across the country. Entre Nous was originally premiered in Omaha, Nebraska with the University of Nebraska Chamber Orchestra. Soon, Entre Nous made it's way to places such as Florida, Texas, and most recently, Iowa, where this newest revision was premiered. Entre Nous has faired well in competition and recital and is sure to be a great addition the repertoire of any chamber orchestra.Entre Nous (between me and thee) is a conversation between a man and his God. It is a single movement, ternary composition, mirroring the Holy Trinity. Beginning in a solemn g minor, it quickly moves forward with an endless flow of eighth note counterpoint, emerging enchantingly into the flowing melancholy melody of the B section. The second A surfaces in a minor with a sudden new energy and direction, slipping into a deeply contemplative, ethereally enchanting ending.Entre Nous is also a very unique and interesting piece, perhaps the reason for its popularity. Structurally, it turns upside-down a number of times, each line becoming the melody at some point. A very linear piece, melodic interweaving and predominance give Entre Nous a characteristic that can be best described as enchanting. Much of the melody being perceived is actually a combination of several lines of music at once, often in contrast to another melody or two beneath.Premiere: University of Nebraska at Omaha - Chamber Orchestra - April 30, 1997Difficulty: Moderate - A great piece for middle school or youth orchestras. Great for competition. Entre Nous has been performed for several competitions and a graduate audition at Florida State.Number of Pages: 25 total printed pagesApprox. 7 minutes and 34 seconds in lengthTo learn more about the composer, please visit https://www.dmgardner.com
$19.99
Two Ecosaisses for Orchestra (or Strings Alone), WoO 22-23
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Ludwig van Beethoven
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Joel Jacklich (ASCAP)
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Two Ecosaisses for Orchestra
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Joel Jacklich
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.723152 Composed by Ludwig van Beethoven. Arranged by Joel Jacklich (ASCAP). Classical,Romantic Period. Score and p...
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Chamber Orchestra - Level 3 - SKU: A0.723152 Composed by Ludwig van Beethoven. Arranged by Joel Jacklich (ASCAP). Classical,Romantic Period. Score and parts. 24 pages. Joel Jacklich #5304807. Published by Joel Jacklich (A0.723152). Beethoven wrote a number of ecossaises for the piano. These two had been scored for military band. It can be played by the full orchestration here, or by just the strings. The ecossaise is an energetic country dance in duple time in which couples form lines facing each other. Ecossaises were usually danced in 2/4 time. Although the word ecossaise is derived from the mid-Fench term for Scotland, any connection with Scotland is unclear. The orchestration is for Flute (with Piccolo doubling at the octave), 2 Oboes, 2 Clarinets in A (Clarinets in B-flat are also included in the set), 2 Bassoons; 2 Horns in F, 2 Trumpets in B-flat; Timpani (G2, A2, D3), Triangle, Snare Drum, Bass Drum, Crash Cymbals; Violin I, Violin I, Viola, Violoncello, and Contrabass.
$25.00
Rondeau (Mouret) - Chamber Orchestra - Intermediate
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Orchestre de chambre
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INTERMÉDIAIRE
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Jean - Joseph Mouret
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Dennis Ruello
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Rondeau
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Chicory Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.734353 Composed by Jean - Joseph Mouret. Arranged by Dennis Ruello. Baroque,Concert,Film/TV,Graduation,Wedding. Sc...
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Chamber Orchestra - Level 3 - SKU: A0.734353 Composed by Jean - Joseph Mouret. Arranged by Dennis Ruello. Baroque,Concert,Film/TV,Graduation,Wedding. Score and parts. 15 pages. Chicory Music #3068997. Published by Chicory Music (A0.734353). Jean-Joseph Mouret (11 April 1682 in Avignon – 22 December 1738 in Charenton-le-Pont ) was a French composer whose dramatic works made him one of the leading exponents of Baroque music in his country. Even though most of his works are no longer performed, Mouret's name survives today thanks to the popularity of the Fanfare-Rondeau from his first Suite de symphonies, which has been adopted as the signature tune of the PBS program Masterpiece Theater and is a popular musical choice in many modern weddings.This arrangement, for Chamber Orchestra, in the string friendly key of D concert is well within the limits of those instrumentalist who perform at the intermediate level. Parts included are: Full Score, Flute, Oboe, Clarinet, Bassoon, Horn in F, 1st and 2nd Violin, Viola, Cello and Double Bass. Performance time approx. 2 minutes 8 seconds.
$14.99
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