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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
Dance - Piano Solo
Non classifié
679
Piano & claviers
Instruments en Do
57
Accordéon
46
Orgue
45
Instrument seul et Orgue
5
Clavecin
2
Guitares
Guitare notes et tablatures
336
Guitare
266
Ukulele
28
Paroles et Accords
12
Basse electrique
12
Ligne De Mélodie, (Paroles) et Accords
11
Mandoline
9
Guitare (partie séparée)
8
3 Guitares (trio)
7
Dulcimer
6
Banjo
5
4 Guitares (Quatuor)
3
2 Guitares (duo)
1
+ 8 instrumentations
Retracter
Voix
Chorale SATB
63
Chorale TTBB
17
Voix seule
17
Chorale SSAA
13
Chorale 3 parties
13
Chorale Unison
6
Voix duo
3
Chorale 2 parties
3
Soli, choeur mixte et accompagnement
2
Voix Tenor
1
+ 5 instrumentations
Retracter
Vents
Flûte traversière
241
Saxophone Alto
212
Clarinette
195
Saxophone Tenor
156
Saxophone (partie séparée)
120
Hautbois (partie séparée)
81
Instruments en Mib
37
Clarinette, Guitare (duo)
19
Flûte à bec Soprano
19
Flûte et Guitare
18
Hautbois
14
Quatuor de Saxophones: 4 saxophones
14
Cor Anglais
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
11
Quatuor de Clarinettes: 4 clarinettes
10
Flûte, Hautbois, Clarinette, Basson
10
Quatuor de Flûtes : 4 flûtes
10
Saxophone Soprano
9
Saxophone Baryton
8
Flute (partie séparée)
7
Flûte à bec Tenor
6
Quintette de Saxophone: 5 saxophones
6
Flûte à Bec
6
Flûte à bec Alto
6
Saxophone
5
2 Flûtes traversières (duo)
5
3 Clarinettes (trio)
5
Piccolo
5
2 Clarinettes (duo)
4
Quintette de Clarinettes: 5 clarinettes
4
Cor anglais, Guitare (duo)
4
Ensemble de Clarinettes
4
Trio de Flûtes: 3 flûtes
4
Clarinette (partie séparée)
3
Quintette de Flûte : 5 flûtes
3
3 Flûtes à bec (trio)
2
Clarinette Basse
2
2 Flûte à bec (duo)
2
3 Saxophones (trio)
2
Saxophone et Guitare
2
Cornemuse
2
Clarinette, Violon (duo)
2
Quatuor de Flûtes à bec
2
Flûte, Hautbois, Basson
1
Ensemble de saxophones
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Violoncelle, Piano (trio)
1
Hautbois, Flûte
1
Clarinette, Harpe (duo)
1
Ensemble de Flûtes
1
Flûte irlandaise
1
Cor anglais et Harpe (duo)
1
Flûte, Saxophone (duo)
1
2 Saxophones (duo)
1
Flûte à bec, Harpe
1
+ 50 instrumentations
Retracter
Cuivres
Trompette
203
Trombone
163
Cor
122
Tuba
63
Instruments en Sib
38
Bass Clef Instruments
38
Euphonium
30
Trompette (partie séparée)
27
Trombone (partie séparée)
17
Quatuor de Cuivres : 2 trompettes, trombone, tuba
15
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
13
Cor Anglais
11
Trombone basse
4
Cor anglais, Guitare (duo)
4
Cor (partie séparée)
2
Ensemble de Trombones
2
Ensemble de Cors
1
Quatuor de cuivres: 4 trombones
1
3 Trombones (trio)
1
Tuba (partie séparée)
1
2 Trombones (duo)
1
Trompette, Cor (duo)
1
4 Tubas
1
Cor anglais et Harpe (duo)
1
Euphonium, Tuba (duo)
1
2 Trompettes (duo)
1
Ensemble de Trompettes
1
Instruments en Fa
1
+ 23 instrumentations
Retracter
Cordes
Violon
386
Violoncelle
219
Alto seul
145
Harpe
74
Alto (partie séparée)
71
Quatuor à cordes: 2 violons, alto, violoncelle
40
Contre Basse
38
Violon, Violoncelle (duo)
21
Trio à Cordes: violon, alto, violoncelle
8
Violon, Guitare (duo)
7
Trio à Cordes: 2 violons, violoncelle
6
Violoncelle , Guitare (duo)
6
Violon (partie séparée)
5
Quatuor à cordes: 4 violons
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Alto, Guitare (duo)
4
Contrebasse (partie séparée)
4
Violon, Alto (duo)
3
2 Violons (duo)
3
2 Violoncelles (duo)
2
Violoncelle (partie séparée)
2
Harpe, Flûte (duo)
2
2 Harpes (duo)
1
Ensemble de Violons
1
Harpe, Violon (duo)
1
Quatuor à cordes : 4 altos
1
Trio à cordes
1
Alto et Harpe
1
Ensemble d'Altos
1
Harpe, Violoncelle (duo)
1
Alto, Violoncelle (duo)
1
4 Contrebasses
1
Harpe, Voix
1
+ 28 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
76
Orchestre à Cordes
60
Ensemble Jazz
59
Orchestre
27
Ensemble de cuivres
19
Marimba
15
Ensemble de Percussions
9
Jazz combo
8
Orchestre de chambre
7
Xylophone
7
Cloches
5
Batterie (partie séparée)
5
Fanfare
5
Vibraphone
3
Percussion
1
Batterie
1
Quintette de Cuivres: autres combinaisons
1
Percussion (partie séparée)
1
Caisse Claire
1
Quintette à Vent
1
+ 15 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
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
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
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…
TANGO
THANKSGIVING
Vendeurs (tous)
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Vous avez sélectionné:
Dance - Piano Solo
Orchestre de chambre
Partitions à imprimer
7 partitions trouvées
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1
Into the Dancesness for Euphonium and Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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William Pagan-Perez
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Into the Dancesness for Euphon
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William Pagan-Perez
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1297771 Composed by William Pagan-Perez. 21st Century,Latin. Score and Parts. 58 pages. William Pagan-Perez #88774...
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Chamber Orchestra - Level 4 - SKU: A0.1297771 Composed by William Pagan-Perez. 21st Century,Latin. Score and Parts. 58 pages. William Pagan-Perez #887746. Published by William Pagan-Perez (A0.1297771). The word Dancesness doesn't exist but I use it to describe an extasis during a dance. This is a single-movement piece for Euphonium Solo with a Chamber Orchestra accompaniment.
$25.00
Dance Suite for Wind Octet
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Orchestre de chambre
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AVANCÉ
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Geoff Ogle
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Dance Suite for Wind Octet
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Geoff Ogle
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.991190 Composed by Geoff Ogle. 20th Century,Contemporary. Score and parts. 277 pages. Geoff Ogle #4111567. Publish...
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Chamber Orchestra - Level 5 - SKU: A0.991190 Composed by Geoff Ogle. 20th Century,Contemporary. Score and parts. 277 pages. Geoff Ogle #4111567. Published by Geoff Ogle (A0.991190). A lively piece for your chamber music or small ensemble concert; present your premier musicians with this showcase selection on your program. A contemporary composition for classic wind octet based on the baroque dance suite form. Each dance is loosely based on the baroque dance form and freely composed for the classic instrumentation of 2 oboes, 2 clarinets, 2 bassoons and 2 horns in F. Alternate parts for saxophones, trumpets, flutes and trombones are include to fit your instrumental needs. A great selection for your solo and ensemble festival.
$40.00
Concertino - for clarinet, mandolin and symphony orchestra
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Orchestre de chambre
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Klezmer
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Ofer Ben-Amots
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praise Him in the heights
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Concertino - for clarinet, man
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The Composer's Own Press
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SheetMusicPlus
Chamber Orchestra - SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029....
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Chamber Orchestra - SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029. Published by The Composer's Own Press (A0.944032). CONCERTINO, for Clarinet, Mandolin, and Orchestra CONCERTINO was officially commissioned in 2011 by the Geneva Chamber Orchestra. The composition explores the sound combination of two, seemingly opposing, instruments and sound characters: the clarinet and the mandolin. Thus, the three-movement work is a short double-concerto for clarinet and mandolin, accompanied by a chamber orchestra. The first movement, titled Psalm 148 and is a mixture of a coronation fanfare and a wild improvisatory-like dance. The music is based on the structure and ideas expressed in the 148th Psalm. For the transformation of this Psalmodic text into music I was concerned with two elements: first, the linguistic pulse of the ancient Biblical Hebrew gives the music its ever-changing meters and vibrant rhythms. The second element was the poetic concept presented in the text: Heaven vs. Earth, Universe vs. Planet, or Heights vs. Depths. The contrasting nature of these elements is described in the following verses: Hallelujah, Praise ye the LORD from the heavens; praise Him in the heights. (Psalm 148, verse 1) Praise the LORD from the earth, ye sea-monsters, and all deeps. (Psalm 148, verse 7) Finally, both Heaven and Earth join in praise together: Let them praise the name of the LORD, for His name alone is exalted; His glory is above the earth and heaven. (Psalm 148, verse 13) The musical expression of these contraries is reflected and the use of high-range and soprano instruments (flutes, clarinet, trumpets, violins) versus low-range instruments (trombone, bassoons, cellos and basses.) The second movement, Romacero Viejo (and old love song) is a slow, lyrical dirge-like melody in a Sephardic Judeo-spanish style. In this movement the mandolin plays in the manner of an Oud – a traditional pear-shaped Arabic lute. The harmony sits mostly on a single pedal note while the clarinet imitates the chant with rhythmically free ornatmental patterns. The third and final movement, Allegro con brio, is a festive klezmer dance with a traditional Bulgar (or Freylech) rhythm, where the regular 8/8 meter is constantly divided into the irregular count of: 3+3+2. In the middle of this movement the two soloists play a cadenza, which allows them to present their contrasting yet complementary instrumental characters. The movement is titled The Geneva Bulgar in honor of the City of Geneva and the wonderful memories I have been carrying with me ever since my time there as a young student at the Conservatoire de Musique. Total duration: ca. 23 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
Concerto for Piccolo Clarinet and Chamber Orchestra
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Orchestre de chambre
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Contemporain
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William Grosvenor Neil
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Concerto for Piccolo Clarinet
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TheComposerStudio.Com, LLC
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SheetMusicPlus
Chamber Orchestra - SKU: A0.980579 Composed by William Grosvenor Neil. Contemporary. Score and parts. 61 pages. TheComposerStudio.Com, LLC #3501905. Pub...
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Chamber Orchestra - SKU: A0.980579 Composed by William Grosvenor Neil. Contemporary. Score and parts. 61 pages. TheComposerStudio.Com, LLC #3501905. Published by TheComposerStudio.Com, LLC (A0.980579). Concerto for Piccolo Clarinet and Chamber Orchestra (2017) The music makes dramatic shifts between the E-flat clarinet’s high virtuous technical flights and its mystical, expressive qualities. The sound resources for entire work are entirely derived from the clarinet’s opening descending line that quickly develops into a succession of firey cadenzas. The soloist then leads the ensemble in a highly spirited dance of counterpoint and rhythm. Click here to order parts: https://www.thecomposerstudio.com/concerto/#tab-15982 Rental support: thecomposerstudio@gmail.com Information on the composer: www.williamneil.net .
$50.00
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
Promenade (Walking The Dog)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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George Gershwin
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Kevin Riley
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Promenade
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Kevin Riley
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1437857 Composed by George Gershwin. Arranged by Kevin Riley. 20th Century,Film/TV. 35 pages. Kevin Riley #1017923...
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Chamber Orchestra - Level 4 - SKU: A0.1437857 Composed by George Gershwin. Arranged by Kevin Riley. 20th Century,Film/TV. 35 pages. Kevin Riley #1017923. Published by Kevin Riley (A0.1437857). Walking the Dog is one of many musical numbers written in 1937 by George Gershwin for the Fred Astaire – Ginger Rogers film score for Shall We Dance. In the film, the music accompanies a sequence of walking a dog on board a luxury liner. In 1960, the sequence was published as Promenade.This arrangement for smaller community orchestra features the solo clarinet with some optional bassoon and oboe.
$60.00
Orchestral Suite No 3 in D Major BWV 1068
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Orchestre de chambre
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Arte Nova Music Lab
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Orchestral Suite No 3 in D Maj
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Arte Nova Music Lab
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.742401 Composed by Johann Sebastian Bach. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score ...
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Chamber Orchestra - Level 5 - SKU: A0.742401 Composed by Johann Sebastian Bach. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 111 pages. Arte Nova Music Lab #3005423. Published by Arte Nova Music Lab (A0.742401). The four orchestral suites (called ouvertures by their author), BWV 1066–1069 are four suites by Johann Sebastian Bach. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation of the opening music. More broadly, the term was used in Baroque Germany for a suite of dance-pieces in French Baroque style preceded by such an ouverture. This genre was extremely popular in Germany during Bach's day, and he showed far less interest in it than was usual: Robin Stowell writes that Telemann's 135 surviving examples [represent] only a fraction of those he is known to have written;[1] Christoph Graupner left 85; and Johann Friedrich Fasch left almost 100. Bach did write several other ouverture (suites) for solo instruments, notably the Cello Suite no. 5, BWV 1011, which also exists in the autograph Lute Suite in G minor, BWV 995, the Keyboard Partita no. 4 in D, BWV 828, and the Overture in the French style, BWV 831 for keyboard. The two keyboard works are among the few Bach published, and he prepared the lute suite for a Monsieur Schouster, presumably for a fee, so all three may attest to the form's popularity.Scholars believe that Bach did not conceive of the four orchestral suites as a set (in the way he conceived of the Brandenburg Concertos), since the sources are various, as detailed below.The Bach-Werke-Verzeichnis catalogue includes a fifth suite, BWV 1070 in G minor. However, this work is highly unlikely to have been composed by J. S. Bach. Taken from https://en.wikipedia.org/wiki/Orchestral_suites_(Bach)
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Dance - Piano Solo
