Page d'accueil
Parcourir Librairie Musicale
--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
Do You Hear What I Hear - Bassoon
Sheetmusicplus
Non classifié
147
Piano & claviers
Piano seul
84
Piano, Voix et Guitare
56
Piano Facile
35
Piano, Voix
20
Instruments en Do
8
1 Piano, 4 mains
6
Piano grosses notes
6
2 Pianos, 4 mains
3
Orgue
2
Piano (partie séparée)
2
Accordéon
1
1 Piano, 6 mains
1
Piano Trio: piano, violon, violoncelle
1
+ 8 instrumentations
Retracter
Guitares
Guitare notes et tablatures
12
Ligne De Mélodie, (Paroles) et Accords
7
Ukulele
5
Guitare
4
Basse electrique
4
Dulcimer
2
Paroles et Accords
2
Guitare (partie séparée)
1
4 Guitares (Quatuor)
1
Piano, Guitare (duo)
1
Mandoline
1
Ensemble de Ukulélés
1
Guitare Pedal Steel
1
+ 8 instrumentations
Retracter
Voix
Pack Instrumental pour Chorale
80
Chorale SATB
29
Chorale TTBB
13
Chorale 3 parties
12
Chorale 2 parties
12
Chorale SSAA
7
Chorale Unison
4
Voix duo, Piano
2
Chorale
1
Voix Soprano, Piano
1
Voix haute
1
Chorale SSAB a cappella
1
Voix moyenne, Piano
1
+ 8 instrumentations
Retracter
Vents
Flute (partie séparée)
9
Clarinette (partie séparée)
8
Quatuor de Clarinettes: 4 clarinettes
8
Quatuor de Saxophones: 4 saxophones
6
Saxophone Tenor et Piano
6
Saxophone Alto et Piano
6
Ensemble de Flûtes
5
Saxophone Alto
4
Saxophone (partie séparée)
4
Saxophone Tenor
4
Ensemble de Clarinettes
4
2 Saxophones (duo)
4
Flûte, Clarinette (duo)
3
Clarinette et Piano
3
Flûte traversière
3
3 Clarinettes (trio)
3
2 Clarinettes (duo)
3
3 Saxophones (trio)
3
Flûte traversière et Piano
3
Saxophone, Clarinette (duo)
2
Saxophone et Harpe
2
2 Flûtes traversières (duo)
2
Flûte, Violon, Piano
2
Quatuor de Flûtes : 4 flûtes
2
Clarinette, Harpe (duo)
2
Hautbois, Piano (duo)
2
2 Flûte à bec (duo)
2
Trio de Flûtes: 3 flûtes
2
Flûte irlandaise
1
Flûte et Guitare
1
Flûte, Violoncelle, Piano (trio)
1
Flûte, Clarinette, Violon (trio)
1
Hautbois, Harpe
1
Saxophone Soprano
1
Flûte, Hautbois, Clarinette (trio)
1
Saxophone Soprano et Piano
1
Clarinette
1
Hautbois (partie séparée)
1
Flute, harpe et violon
1
Flûte, Clarinette, Piano (trio)
1
Cor anglais, Guitare (duo)
1
Clarinette, Violon (duo)
1
Flûte, Violon
1
Flûte, Harpe et Violoncelle
1
Flûte, Hautbois, Violon
1
Clarinette, Guitare (duo)
1
Flûte, Hautbois (duo)
1
Quintette de Saxophone: 5 saxophones
1
+ 43 instrumentations
Retracter
Cuivres
Trompette (partie séparée)
9
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
6
Trombone et Piano
5
Trombone (partie séparée)
5
2 Trombones (duo)
4
Trompette
4
Trombone
3
2 Trompettes (duo)
3
Quatuor de cuivres: 4 trombones
2
Cor (partie séparée)
2
Clarinette, Cor (duo)
2
Trompette, Piano
2
Cor et Piano
2
Trompette, Trombone (duo)
1
3 Trompettes (trio)
1
Cor et Harpe
1
Cor, Tuba (duo)
1
Trombone, Tuba (duo)
1
2 Tubas (duo)
1
Trompette, Harpe
1
Tuba (partie séparée)
1
Cor anglais, Guitare (duo)
1
Cor
1
Trompette, Tuba (duo)
1
3 Trombones (trio)
1
2 Cors (duo)
1
+ 21 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
15
Violon
8
Harpe
8
Trio à Cordes: violon, alto, violoncelle
6
2 Violons (duo)
5
Violon, Violoncelle (duo)
5
Violon et Piano
5
Violoncelle, Piano
4
Alto, Violoncelle (duo)
3
Violon (partie séparée)
3
2 Harpes (duo)
2
Harpe, Flûte (duo)
2
Harpe, Violon (duo)
2
Trio à cordes: 3 violins
2
Contrebasse (partie séparée)
2
Alto, Piano
2
Alto seul
2
Violoncelle
2
Harpe, Trombone (duo)
1
Harpe, Voix
1
Violon, Alto (duo)
1
Violoncelle (partie séparée)
1
Harpe, Violon, Violoncelle
1
Alto (partie séparée)
1
2 Violoncelles (duo)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
4 Violoncelles
1
Trio à Cordes: 2 violons, violoncelle
1
Alto et Harpe
1
Harpe, Violoncelle (duo)
1
+ 25 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
40
Ensemble de cuivres
16
Orchestre
11
Orchestre à Cordes
8
Cloches
8
Percussion (partie séparée)
6
Ensemble Jazz
4
Orchestre de chambre
2
Jazz combo
2
Batterie (partie séparée)
1
Ensemble de Percussions
1
Timbales (partie séparée)
1
+ 7 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
Instrumentations
Editeurs
Artistes
Formation Musicale
Idées Cadeaux Partitions
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
Autres Services
Autres Services
Top 100
Annuaire Web
Portées musicales
Metronome
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
209
Partitions Numériques
2
Librairie Musicale
0
Matériel de Musique
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Crtitères actifs :
Do You Hear What I Hear - Bassoon
SheetMusicPlus
Partitions à imprimer
2 partitions trouvées
<
1
Do You Hear What I Hear
#
Orchestre de chambre
#
INTERMÉDIAIRE/AVANCÉ
#
Carrie Underwood
#
Dennis Ruello
#
Do You Hear What I Hear
#
Chicory Music
#
SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.734392 By Carrie Underwood. By Gloria Shayne and Noel Regney. Arranged by Dennis Ruello. Christian,Gospel,Rock. Sc...
(+)
Chamber Orchestra - Level 4 - SKU: A0.734392 By Carrie Underwood. By Gloria Shayne and Noel Regney. Arranged by Dennis Ruello. Christian,Gospel,Rock. Score and parts. 19 pages. Chicory Music #3690903. Published by Chicory Music (A0.734392). Do You Hear What I Hear? is a song written in October 1962, with lyrics by Noël Regney and music by Gloria Shayne Baker. The pair, married at the time, wrote it as a plea for peace during the Cuban Missile Crisis. Regney had been invited by a record producer to write a Christmas song, but he was hesitant due to the commercialism of the Christmas holiday. It has sold tens of millions of copies and has been covered by hundreds of artists, This Advanced Intermediate Level arrangement for Chamber orchestra is appropriate for holiday recitals, concerts and church services.Performance time is approx. 2 min. 40 sec. 2018 Holiday Contest Entry .
$18.99
Requiem
#
Orchestre de chambre
#
Harald Weiss
#
Requiem
#
Schott Music - Digital
#
SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
(+)
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
<
1
Do You Hear What I Hear - Bassoon
