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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
Ana's Song
Non classifié
526
Piano & claviers
Piano seul
288
Piano, Voix
155
Piano Facile
113
Piano, Voix et Guitare
90
Instruments en Do
80
Orgue
23
Piano grosses notes
19
Piano Trio: piano, violon, violoncelle
5
Accompagnement Piano
4
1 Piano, 4 mains
3
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Accordéon
2
Piano Quatuor: piano, 2 violons, violoncelle
1
2 Accordéons
1
Piano (partie séparée)
1
2 Pianos, 4 mains
1
Ligne De Mélodie, Piano
1
+ 13 instrumentations
Retracter
Guitares
Guitare
29
Guitare notes et tablatures
27
Ligne De Mélodie, (Paroles) et Accords
24
Ukulele
14
Basse electrique
9
Piano, Guitare (duo)
6
Mandoline
3
Guitare (partie séparée)
2
Dulcimer
2
Banjo
1
Paroles et Accords
1
+ 6 instrumentations
Retracter
Voix
Chorale 3 parties
155
Chorale SATB
154
Chorale 2 parties
79
Chorale SSAA
58
Chorale TTBB
44
Voix Soprano, Piano
23
Chorale Unison
18
Voix Tenor, Piano
16
Voix Baryton, Piano
15
Voix Alto, Piano
12
Voix duo, Piano
10
Voix duo
4
Voix Mezzo-Soprano, Piano
2
Voix haute
1
Chorale SSAATTBB
1
Voix moyenne, Piano
1
Chorale SSAB, Piano
1
+ 12 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
72
Quintette de Saxophone: 5 saxophones
57
Saxophone (partie séparée)
45
Hautbois (partie séparée)
41
Quatuor de Saxophones: 4 saxophones
40
Flûte traversière et Piano
35
Flûte traversière
34
Saxophone Alto
33
Hautbois, Piano (duo)
31
Flûte, Hautbois, Clarinette, Basson
31
Clarinette et Piano
29
Saxophone Tenor
25
Saxophone Alto et Piano
22
Quatuor de Clarinettes: 4 clarinettes
22
Saxophone Tenor et Piano
20
Clarinette
20
2 Saxophones (duo)
13
Saxophone Soprano
12
Ensemble de Clarinettes
11
Saxophone Baryton, Piano
9
2 Flûtes traversières (duo)
9
Saxophone Soprano et Piano
8
2 Clarinettes (duo)
8
Hautbois
8
Harmonica
7
Cor anglais, Piano
6
Ensemble de Flûtes
6
Quatuor de Flûtes : 4 flûtes
5
Flute (partie séparée)
4
Flûte, Clarinette (duo)
4
Ensemble de saxophones
4
Saxophone, Clarinette (duo)
3
Flûte à bec Soprano
3
3 Saxophones (trio)
3
Quintette de Flûte : 5 flûtes
3
Clarinette Basse, Piano
3
Quintette de Clarinettes: 5 clarinettes
3
Trio de Flûtes: 3 flûtes
2
Clarinette, Trompette (duo)
2
Flûte, Violoncelle
2
Flûte à bec Alto
2
Saxophone Baryton
2
Quatuor de Flûtes à bec
2
Flûte, Hautbois, Clarinette (trio)
2
Flûte, Violon, Piano
2
Clarinette (partie séparée)
2
Cor Anglais
2
2 Clarinettes, Piano
1
2 Hautbois (duo)
1
Clarinette, Guitare (duo)
1
Clarinette, Violoncelle (duo)
1
Clarinette et Alto
1
2 Flûtes traversières, Piano
1
Flûte, Clarinette et Basson
1
Flûte et Guitare
1
Piccolo, Piano
1
Ocarina
1
Hautbois, Guitare (duo)
1
Clarinette, Violon (duo)
1
Clarinette, Basson (duo)
1
2 Flûte à bec (duo)
1
Flûte, Saxophone (duo)
1
2 Saxophones, Piano
1
3 Clarinettes (trio)
1
Hautbois, Flûte
1
Flûte, Trompette (duo)
1
Flûte à bec Soprano, Piano
1
Flûte, Violon
1
Hautbois, Clarinette (duo)
1
+ 64 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
46
Quatuor de Cuivres : 2 trompettes, trombone, tuba
41
Trompette
39
Trompette (partie séparée)
21
Trombone et Piano
18
Quatuor de cuivres: 4 trombones
17
Trombone
16
Cor et Piano
16
Trompette, Piano
15
Cor
14
Tuba
7
Tuba et Piano
7
Ensemble de Trombones
7
Euphonium, Piano (duo)
7
Cor anglais, Piano
6
2 Trompettes (duo)
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
Quatuor de Cuivres
5
2 Trombones (duo)
4
Trombone (partie séparée)
3
Tuba (partie séparée)
2
Trompette, Trombone (duo)
2
Ensemble de Trompettes
2
Trompette, Saxophone (duo)
2
Cor Anglais
2
Cor (partie séparée)
2
4 Tubas
2
Quatuor de cuivres: 4 cors
2
3 Trombones (trio)
1
2 Tubas (duo)
1
Tuba et Orgue
1
2 Trombones, Piano
1
Trombone basse et Piano
1
2 Trompettes, Clavier (piano ou orgue)
1
+ 29 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
110
Violon
51
Violon et Piano
46
Violoncelle
34
Alto, Piano
30
Violoncelle, Piano
25
Alto (partie séparée)
21
Violon, Violoncelle (duo)
21
Alto seul
18
Harpe
16
Quintette à cordes: 2 violons, alto, violoncelle, basse
15
Trio à Cordes: violon, alto, violoncelle
14
2 Violons (duo)
9
Trio à Cordes: 2 violons, violoncelle
9
Contre Basse
8
2 Violoncelles (duo)
7
Contrebasse, Piano (duo)
7
Ensemble d'Altos
4
Ensemble de Violons
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
3
2 Altos (duo)
3
Violon (partie séparée)
3
Contrebasse (partie séparée)
2
4 Violoncelles
2
Violoncelle (partie séparée)
2
2 Harpes (duo)
2
Violon, Alto (duo)
2
2 Violons, Piano
1
Trio à Cordes: 2 violons, alto
1
Harpe, Voix
1
Harpe, Violon, Violoncelle
1
Alto, Violoncelle (duo)
1
4 Contrebasses
1
Violoncelle , Guitare (duo)
1
+ 29 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
198
Orchestre
44
Ensemble de cuivres
24
Orchestre de chambre
16
Ensemble Jazz
15
Orchestre à Cordes
11
Fanfare
8
Percussion (partie séparée)
7
Batterie
5
Ensemble de Percussions
4
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Cloches
2
Batterie (partie séparée)
2
Jazz combo
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
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Vous avez sélectionné:
Ana's Song
Orchestre de chambre
Partitions à imprimer
16 partitions trouvées
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"On the beaches of Tijuana"
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Luis Carlos Diaz
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Luis Carlos Diaz
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"On the beaches of Tijuan
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azdi
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1029901 Composed by Luis Carlos Diaz. Arranged by Luis Carlos Diaz. 20th Century,Contemporary,Film/TV. Score and p...
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Chamber Orchestra - Level 4 - SKU: A0.1029901 Composed by Luis Carlos Diaz. Arranged by Luis Carlos Diaz. 20th Century,Contemporary,Film/TV. Score and parts. 67 pages. Azdi #5983045. Published by azdi (A0.1029901). On the beaches of Tijuana August 2018 It is a sound work for chamber orchestral ensemble based on the traditional and anonymous Son Istmeño La Llorona. Developed under a minimalist aesthetic influenced by ambient and experimental music. It fuses the themes of the traditional son with melodic and rhythmic motifs of popular Mexican rock songs also inspired by this traditional rhythm: La muerte chiquita by Café Tacuba and Llorona by Caifanes. It is structured similar to the format of a rock song. Start with a long base note or drone. Introduction (intro) about a descending harmony in the key of La Menor. A melody as a verse and a different melody as choir. Both melodies are presented and performed by different instruments with variations and different combinations of accompaniment and instrumentation. Variations of the thematic patterns and the ¨intro¨. A rhythmic-melodic experiment towards the end on the same descending harmonic progression as the solo part in a rock song. It ends with a fading orchestral atmosphere (outro). All oriented towards a minimalist style setting focused on melodic lines and emotional expressiveness. For a chamber orchestra. Ideally a string septet consisting of: 2 violins. 2 violas. 2 cellos. 1 double bass. Breaths: 1 trombone. 1 trumpet. 1 transverse flute. 1 Picollo flute. 1 Clarinet. 1 Oboe. Percussion of a determined note. It can be a vibraphone. Xylophone (preferably) or marimba. If it is not possible to use this type of instrument, that part is played an octave up on a piano. The number of instruments can be increased for each of the parts if needed and be convenient for the chamber orchestra in question. The Tempo can vary between 95 and 115 bpm. The work is designed so that it can be performed mainly by youth and children's orchestras. Dedicated to Tijuana beaches. pre.cjk { font-family: WenQuanYi Micro Hei Mono, monospace; }p { margin-bottom: 0.1in; line-height: 115%; }
$22.00
Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)
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Orchestre de chambre
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Ofer Ben-Amots
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Songs from the Pomegranate Gar
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The Composer's Own Press
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SheetMusicPlus
Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681....
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Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas – Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composer’s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: חידוש – פירוש – שימור – חיפוש). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judéo-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato ‘sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato ‘sta el hijo del rey (The King’s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha B’Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation. Duration: ca. 24 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00
Joseph White: La Bella Cubana for chamber orchestra - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Joseph White
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Robert Debbaut
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Joseph White: La Bella Cubana
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ROBERT DEBBAUT
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.939439 Composed by Joseph White. Arranged by Robert Debbaut. Classical,Contest,Festival,Latin,Multicultural,Romant...
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Chamber Orchestra - Level 3 - SKU: A0.939439 Composed by Joseph White. Arranged by Robert Debbaut. Classical,Contest,Festival,Latin,Multicultural,Romantic Period,World. Score and parts. 66 pages. ROBERT DEBBAUT #6363105. Published by ROBERT DEBBAUT (A0.939439). The talents of Afro-Cuban violinist Joseph White were recognized by the American pianist and composer Louis Moreau Gottschalk (1829-1869) who had performed with him on an early recital. Gottschalk raised money so he could go to Paris and study with Jean-Delphin Alard (1815-1888), one of the great violinists of his day. White won the Paris Conservatory’s Premier Prix in 1856 and received high accolades from such musical giants as Auber, Berlioz, Gounod, Rossini, and Saint-Saëns, as well as German violin virtuosi Ferdinand David and Joseph Joachim. He was a major force in the cultural life of Paris as well as Europe for the next twenty years, performing on his Stradivarius violin nicknamed The Swansong. La Bella Cubana was among the original compositions s he performed on his recitals. This volume includes the new arrangement for chamber orchestra, the original transcribed score for two violins and piano, as well as extensive biographical and background information. For those seeking more information about the greatest violinist of whom you have NEVER heard, this is a great starting point.  Adapted from a published lead sheet, this traditional carol is adapted for young string orchestra. If you purchase the score, please write to the arranger at debbaut@gmail.com, subject White LBC and I will send you a copy of the parts for $30 via Venmo or personal check.
$9.99
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Sér&eac
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
E Piu Ti Penso - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Elio Cesari, Ennio Morricone,
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Flavio Regis Cunha
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E Piu Ti Penso - Score Only
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FRC Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.567344 Composed by Elio Cesari, Ennio Morricone, and Giulio Rapetti Mogol. Arranged by Flavio Regis Cunha. 20th Ce...
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Chamber Orchestra - Level 3 - SKU: A0.567344 Composed by Elio Cesari, Ennio Morricone, and Giulio Rapetti Mogol. Arranged by Flavio Regis Cunha. 20th Century,Contemporary,Contest,Festival,Pop,Wedding. Score and parts. 24 pages. FRC Music #176753. Published by FRC Music (A0.567344). TITLE E Più Ti Penso (Deborah's Theme) - Andrea Bocelli, Ariana Grande Version DESCRIPTION E Più Ti Penso (The more I think of you in English), alternatively titled E Più Ti Penso (from Once Upon a Time in America) is an Italian song originally written by Ennio Morricone, Mogol, and Tony Renis for the movie Once Upon a Time in America. This is a song recorded by the Italian operatic-pop trio Il Volo in 2010 in their first CD Il Volo in 2010. Later this song was recorded by Italian singer Andrea Bocelli and American singer Ariana Grande. The song was released on 1 October 2015, and served as the lead single from Bocelli's album, Cinema (2015). INSTRUMENTS Piano Accompaniment, Oboe, Horn in F, Violin, Viola, Cello, Double Bass, Timpani, Percussion Ensemble, 1Ob.4Hn.Timp.Perc:Cyms.M.T.Hp.Pft.Str. FORMAT Score ONLY.
$29.99
E Piu Ti Penso
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Andrea Bocelli And Ariana Gran
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Flavio Regis Cunha
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E Piu Ti Penso
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1493527 By Andrea Bocelli And Ariana Grande. By Elio Cesari, Ennio Morricone, and Giulio Rapetti Mogol. Arranged b...
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Chamber Orchestra - Level 4 - SKU: A0.1493527 By Andrea Bocelli And Ariana Grande. By Elio Cesari, Ennio Morricone, and Giulio Rapetti Mogol. Arranged by Flavio Regis Cunha. 20th Century,Contest,Festival,Film/TV,Instructional,Wedding. 23 pages. Flavio Regis Cunha #1070189. Published by Flavio Regis Cunha (A0.1493527). E Più Ti Penso (The More I Think of You in English), also known as E Più Ti Penso (from Once Upon a Time in America), is an Italian song originally composed by Ennio Morricone, Mogol, and Tony Renis for the movie Once Upon a Time in America. It was first recorded by the Italian operatic-pop trio Il Volo for their debut album Il Volo in 2010. The song later gained further popularity when recorded by Italian singer Andrea Bocelli and American singer Ariana Grande. Released on October 1, 2015, it served as the lead single from Bocelli's album Cinema (2015).This arrangement of Deborah's Theme - E Più Ti Penso is scored for Choir SATB and Orchestra, suitable for advanced intermediate performers.Advanced Intermediate LevelFormat: Concert, 9 x 12 inches Length: 58 pages.
$69.99
Over The Rainbow
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Orchestre de chambre
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INTERMÉDIAIRE
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Comédie Musicale
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Film/TV
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Judy Garland
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John C Skillman
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Over The Rainbow
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John Curtis Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1126265 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by John C Skillman. Broadway,Film/TV,Jazz,...
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Chamber Orchestra - Level 3 - SKU: A0.1126265 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by John C Skillman. Broadway,Film/TV,Jazz,Musical/Show,Standards. Score and parts. 37 pages. John Curtis Music #726967. Published by John Curtis Music (A0.1126265). This arrangement of Harold Arlen's classic song is an adaptation of Ariana Grande's performance and 2017 single, Somewhere over the rainbow (live From Manchester). The chart features a near-full string section, with Electric bass covering the low end. This version brings back the song's original introduction and uses a combo-style horn section to highlight the gospel and jazz-influenced harmony and phrasing.
$49.99
Overture to "A Lucky Star" A 1920s Musical, Full Orchestra Score and Individual Parts
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Orchestre de chambre
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INTERMÉDIAIRE
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James Nathaniel Holland
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Overture to "A Lucky Star
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James Nathaniel Holland
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.730508 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Jazz,Musical/Show,Patriotic. Score and p...
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Chamber Orchestra - Level 3 - SKU: A0.730508 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Jazz,Musical/Show,Patriotic. Score and parts. 74 pages. James Nathaniel Holland #5955675. Published by James Nathaniel Holland (A0.730508). Overture to American composer James Nathaniel Holland's early 1920s-styled musical A Lucky Star. The story about coming to terms with where you're from while attaining your dreams. Featured are 4 popular songs: A Lucky Star; O Baby, You Treat Me Too Rough; New York The City, The Town of Your Dreams; and Indiana. Perfect for period 20s jazz concert or opening to pops orchestra concert. Full score in concert pitch and individual instrument parts included. Instr: picc, fl12, ob12, cl12, bsn, hrn12, tpt, trmb, timp, drum set, piano (w/opt. banjo), strings. Duration: 8:28.
$15.95
E Piu Ti Penso
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Elio Cesari, Ennio Morricone,
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Flavio Regis Cunha
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E Piu Ti Penso
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FRC Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.567343 Composed by Elio Cesari, Ennio Morricone, and Giulio Rapetti Mogol. Arranged by Flavio Regis Cunha. Contemp...
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Chamber Orchestra - Level 4 - SKU: A0.567343 Composed by Elio Cesari, Ennio Morricone, and Giulio Rapetti Mogol. Arranged by Flavio Regis Cunha. Contemporary,Contest,Festival,Film/TV,Pop,Wedding. Score and parts. 58 pages. FRC Music #176752. Published by FRC Music (A0.567343). E Più Ti Penso (The more I think of you in English), alternatively titled E Più Ti Penso (from Once Upon a Time in America) is an Italian song originally written by Ennio Morricone, Mogol, and Tony Renis for the movie Once Upon a Time in America. This is a song recorded by the Italian operatic-pop trio Il Volo in 2010 in their first CD Il Volo in 2010. Later this song was recorded by Italian singer Andrea Bocelli and American singer Ariana Grande. The song was released on 1 October 2015, and served as the lead single from Bocelli's album, Cinema (2015). Advanced Intermediate.Format: Concert, 9 x 12 inches.58 pages.
$49.99
O du Fröhliche - Full Score
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Orchestre de chambre
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FACILE
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N
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O du Fröhliche - Full Sco
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Pubblicato da Nicola Marasco
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.931479 Arranged by N. Marasco. Christmas,Classical,Holiday,Sacred. Score and parts. 7 pages. Pubblicato da Nicola ...
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Chamber Orchestra - Level 2 - SKU: A0.931479 Arranged by N. Marasco. Christmas,Classical,Holiday,Sacred. Score and parts. 7 pages. Pubblicato da Nicola Marasco #6430227. Published by Pubblicato da Nicola Marasco (A0.931479). O du fröhliche is a German Christmas carol. The author of the original text was the prominent Weimar orphan father Johannes Daniel Falk (1768–1826).In late 1815, he dedicated this song to the children of the orphanage. The melody was taken from the anonymous Catholic hymn O Sanctissima (also known as Sicilian Mariners Hymn), which he found in the posthumous edition of J.G. Herder's Stimmen der Völker in Liedern after hearing it sung by Pietro Granucci, an Italian foundling under his care. In Falk's original text, the song was titled Allerdreifeiertagslied (A song for three holidays), highlighting the three major festivals of Christianity: Christmas, Easter and Pentecost.
$9.99
O du fröhliche - Orchestral parts set
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Orchestre de chambre
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FACILE
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N
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O du fröhliche - Orchestr
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Pubblicato da Nicola Marasco
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.931480 Arranged by N. Marasco. Christmas,Classical,Holiday,Sacred. Score and parts. 15 pages. Pubblicato da Nicola...
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Chamber Orchestra - Level 2 - SKU: A0.931480 Arranged by N. Marasco. Christmas,Classical,Holiday,Sacred. Score and parts. 15 pages. Pubblicato da Nicola Marasco #6430229. Published by Pubblicato da Nicola Marasco (A0.931480). O du fröhliche is a German Christmas carol. The author of the original text was the prominent Weimar orphan father Johannes Daniel Falk (1768–1826).In late 1815, he dedicated this song to the children of the orphanage. The melody was taken from the anonymous Catholic hymn O Sanctissima (also known as Sicilian Mariners Hymn), which he found in the posthumous edition of J.G. Herder's Stimmen der Völker in Liedern after hearing it sung by Pietro Granucci, an Italian foundling under his care. In Falk's original text, the song was titled Allerdreifeiertagslied (A song for three holidays), highlighting the three major festivals of Christianity: Christmas, Easter and Pentecost.
$19.99
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
The Star Spangled Banner (US National Anthem) for Chamber Orchestra - Set of Parts
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Orchestre de chambre
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INTERMÉDIAIRE
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Patriotique
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Patriotique
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John Stafford Smith
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Yoon Jae Lee
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The Star Spangled Banner
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Ondine Press
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1088281 Composed by John Stafford Smith. Arranged by Yoon Jae Lee. Classical,Instructional,Patriotic,Standards,Tra...
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Chamber Orchestra - Level 3 - SKU: A0.1088281 Composed by John Stafford Smith. Arranged by Yoon Jae Lee. Classical,Instructional,Patriotic,Standards,Traditional. Set of parts. 17 pages. Ondine Press #692535. Published by Ondine Press (A0.1088281). Instrumentation: 2. 2. 2. 2 – 2. 2. 0. 0 – tp – str This is a set of parts to Yoon Jae Lee's arrangement of the Star Spangled Banner for chamber orchestra. The full score is available separately. Throughout history, popular tunes have been adapted to suit the changing tastes and styles of the times. The US national anthem is no different. Originally based on a popular tune called “The Anacreontic Song†in a brisk 6/4 meter, it gradually transformed into the solemn 3/4 meter anthem we now so commonly hear. This newly orchestrated arrangement of the Star Spangled Banner for classical chamber orchestra is in the period style of the late 18th century and based on the first printed edition of the anthem in 1814. Upbeat and refreshing, it reflects the optimistic spirit of a young nation with a bright future ahead of it. Audiences everywhere will be delighted by this historically informative yet entertaining rendition of the US national anthem! Perusal Score: https://issuu.com/ondinepress/docs/the_star_spangled_banner_chamber_orchestra.
$20.00
The Star Spangled Banner (US National Anthem) for Chamber Orchestra - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Patriotique
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Patriotique
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John Stafford Smith
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Yoon Jae Lee
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The Star Spangled Banner
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Ondine Press
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1088278 Composed by John Stafford Smith. Arranged by Yoon Jae Lee. Classical,Instructional,Patriotic,Standards,Tra...
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Chamber Orchestra - Level 3 - SKU: A0.1088278 Composed by John Stafford Smith. Arranged by Yoon Jae Lee. Classical,Instructional,Patriotic,Standards,Traditional. 7 pages. Ondine Press #692531. Published by Ondine Press (A0.1088278). Instrumentation: 2. 2. 2. 2 – 2. 2. 0. 0 – tp – str This is a full score to Yoon Jae Lee's arrangement of the Star Spangled Banner for chamber orchestra. The set of parts is available separately. Throughout history, popular tunes have been adapted to suit the changing tastes and styles of the times. The US national anthem is no different. Originally based on a popular tune called “The Anacreontic Song†in a brisk 6/4 meter, it gradually transformed into the solemn 3/4 meter anthem we now so commonly hear. This newly orchestrated arrangement of the Star Spangled Banner for classical chamber orchestra is in the period style of the late 18th century and based on the first printed edition of the anthem in 1814. Upbeat and refreshing, it reflects the optimistic spirit of a young nation with a bright future ahead of it. Audiences everywhere will be delighted by this historically informative yet entertaining rendition of the US national anthem! Perusal Score: https://issuu.com/ondinepress/docs/the_star_spangled_banner_chamber_orchestra.
$8.00
Mountains Of The Moon
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Orchestre de chambre
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INTERMÉDIAIRE
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The Grateful Dead
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Lee Johnson
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Mountains Of The Moon
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Lee Johnson Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1181592 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Chamber,Con...
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Chamber Orchestra - Level 3 - SKU: A0.1181592 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Chamber,Contemporary,Contest,Festival,Folk. Score and Parts. 40 pages. Lee Johnson Music #781381. Published by Lee Johnson Music (A0.1181592). MOUNTAINS of the MOON - for string orchestra and harp - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboard’s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations. Each movement may be purchased and performed separately.If your orchestra would like to do a complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GiveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture and FinaleFor more information on composer Lee Johnson please visit: www.leejohnsonmusic.comKings Bishop Productions YouTube Channel Â
$49.99
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Ana's Song
