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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
Dot Dot Dot
Non classifié
432
Piano & claviers
Piano seul
468
Piano, Voix
339
Piano Facile
250
Piano, Voix et Guitare
143
Orgue
36
1 Piano, 4 mains
17
Instruments en Do
12
Piano grosses notes
7
Piano Trio: piano, violon, violoncelle
5
Accompagnement Piano
4
Piano (partie séparée)
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Ligne De Mélodie, Piano
1
Instrument seul et Orgue
1
Clavecin
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
1 Piano, 6 mains
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 13 instrumentations
Retracter
Guitares
Guitare
42
Ligne De Mélodie, (Paroles) et Accords
30
Guitare notes et tablatures
20
Paroles et Accords
14
Basse electrique
5
Guitare (partie séparée)
2
Ukulele
2
4 Guitares (Quatuor)
2
Dulcimer
1
3 Guitares (trio)
1
Mandoline, Guitare (duo)
1
+ 6 instrumentations
Retracter
Voix
Chorale SATB
116
Chorale 3 parties
37
Chorale TTBB
22
Chorale 2 parties
22
Voix seule
21
Chorale SSAA
14
Chorale Unison
10
Pack Instrumental pour Chorale
8
Voix Soprano, Piano
5
Voix Tenor, Piano
4
Voix duo, Piano
3
Voix duo
3
Voix Mezzo-Soprano, Piano
2
Chorale
2
Chorale SSATB
2
Voix Moyenne
1
Voix Baryton, Piano
1
Voix basse, Piano
1
Chorale SSAB a cappella
1
Voix moyenne, Piano
1
Voix haute
1
+ 16 instrumentations
Retracter
Vents
Saxophone
134
Clarinette
91
Flûte traversière
75
Flûte traversière et Piano
50
Quatuor de Saxophones: 4 saxophones
34
Clarinette et Piano
33
Hautbois, Piano (duo)
30
Saxophone Tenor et Piano
24
Saxophone Alto
24
Saxophone Alto et Piano
24
Saxophone Tenor
22
Saxophone Soprano et Piano
18
2 Saxophones (duo)
17
Saxophone (partie séparée)
16
Flûte, Hautbois, Clarinette, Basson
15
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
14
Quatuor de Clarinettes: 4 clarinettes
14
Clarinette Basse, Piano
13
Saxophone Baryton, Piano
11
Saxophone Soprano
10
Clarinette (partie séparée)
9
2 Flûte à bec (duo)
9
Ensemble de Clarinettes
8
2 Flûtes traversières (duo)
7
Quintette de Saxophone: 5 saxophones
7
2 Clarinettes (duo)
7
Trio de Flûtes: 3 flûtes
7
Flûte à Bec
6
3 Saxophones (trio)
6
Hautbois (partie séparée)
5
Flûte, Violon, Piano
5
Flute (partie séparée)
5
3 Clarinettes (trio)
5
Flûte à bec Soprano
5
Flûte, Clarinette (duo)
5
Flûte, Hautbois, Clarinette (trio)
5
Quatuor de Flûtes : 4 flûtes
5
Flûte et Guitare
5
Hautbois
4
Ensemble de Flûtes
4
Ensemble de saxophones
3
Flûte, Clarinette, Piano (trio)
3
Flûte, Violoncelle, Piano (trio)
3
Quatuor de Flûtes à bec
3
Hautbois, Basson (duo)
2
2 Clarinettes, Piano
2
Saxophone et Orgue
2
2 Hautbois (duo)
2
Cor anglais, Piano
2
Ensemble à vent
2
Quintette de Clarinettes: 5 clarinettes
2
Flûte à bec, Guitare (duo)
2
Flûte, trombone et piano
2
Clarinette, Basson (duo)
2
Clarinette, Violoncelle (duo)
2
Flûte, Violoncelle
2
Flûte, Violon
2
Hautbois, Harpe
1
Flûte, Hautbois, Piano (trio)
1
Clarinette, Harpe (duo)
1
2 Saxophones, Piano
1
Saxophone et Guitare
1
Flûte, Alto et Piano
1
5 Flûtes à bec
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Clarinette, Guitare (duo)
1
2 Flûtes traversières, Piano
1
Flûte, Hautbois (duo)
1
Flûte, Hautbois, Basson
1
Ocarina
1
Clarinette, Trompette (duo)
1
Flûte irlandaise
1
Hautbois, Flûte
1
Flûte à bec Soprano, Piano
1
Cor Anglais
1
Ensemble De Flûte à bec
1
Clarinette, Violon (duo)
1
Flûte, Basson et Piano
1
3 Flûtes à bec (trio)
1
Cor anglais, Guitare (duo)
1
Quintette de Flûte : 5 flûtes
1
+ 76 instrumentations
Retracter
Cuivres
Trompette
95
Trombone
75
Trompette, Piano
38
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
23
Trombone et Piano
22
Cor et Piano
19
Quatuor de Cuivres: 2 trompettes, Cor, trombone
16
Quatuor de Cuivres : 2 trompettes, trombone, tuba
14
Tuba et Piano
12
Cor
11
Trombone (partie séparée)
10
Trompette (partie séparée)
9
Cor (partie séparée)
5
Quatuor de Cuivres
5
Tuba
4
2 Euphoniums et 2 Tubas
3
2 Trombones (duo)
3
2 Trompettes (duo)
3
Trio de Cuivres
3
Euphonium, Piano (duo)
3
2 Cors (duo)
2
Bass Clef Instruments
2
Cor anglais, Piano
2
Quatuor de cuivres: 4 trombones
2
Euphonium
2
Euphonium (partie séparée)
2
Tuba (partie séparée)
2
Ensemble de Cors
1
Quatuor de cuivres: 4 trompettes
1
4 Tubas
1
Cor Anglais
1
Instruments en Sib
1
Ensemble de Trompettes
1
Trompette, Cor (duo)
1
Trompette, Tuba (duo)
1
Cor anglais, Guitare (duo)
1
3 Euphoniums
1
+ 32 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
78
Violon et Piano
63
Violoncelle, Piano
47
Alto, Piano
37
2 Violoncelles (duo)
34
Violoncelle
30
Violon
26
Violon, Violoncelle (duo)
25
Violon, Alto (duo)
23
Alto, Violoncelle (duo)
20
Violon (partie séparée)
14
2 Violons (duo)
14
Harpe
13
Contrebasse, Piano (duo)
11
Trio à Cordes: violon, alto, violoncelle
8
Alto seul
8
2 Altos (duo)
8
Contrebasse (partie séparée)
7
Alto, Guitare (duo)
4
Alto (partie séparée)
4
Contre Basse
4
Harpe, Flûte (duo)
3
4 Violoncelles
3
Violoncelle (partie séparée)
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
5 Harpes
2
Violoncelle, Contrebasse (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
3 Harpes
2
Piano Trio: Violon, Alto, Piano
2
Trio à Cordes: 3 violoncelles
2
Trio à cordes: 3 altos
1
Violon, Clarinette, Piano (trio)
1
Violoncelle , Guitare (duo)
1
2 Violoncelles, Piano
1
Quatuor à cordes: 4 violons
1
2 Violons, Piano
1
Violon, Basson (duo)
1
Trio à cordes: 3 violins
1
Trio à Cordes: 2 violons, alto
1
Quatuor à cordes : 4 altos
1
+ 36 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
140
Orchestre d'harmonie
139
Cloches
30
Orchestre
24
Ensemble de cuivres
15
Ensemble Jazz
12
Percussion (partie séparée)
9
Xylophone, Piano
8
Orchestre de chambre
8
Batterie
8
Jazz combo
5
Timbales (partie séparée)
4
Ensemble de Percussions
4
Percussion
1
Batterie (partie séparée)
1
Fanfare
1
Quatuor à Vent : 4 instruments à vents
1
+ 12 instrumentations
Retracter
Autres
Formation musicale - Solfège
9
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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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 -…
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CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
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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
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Vous avez sélectionné:
Dot Dot Dot
Orchestre de chambre
Partitions à imprimer
8 partitions trouvées
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1
Turandot Nessun dorma
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Orchestre de chambre
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INTERMÉDIAIRE
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Giacomo Puccini
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Turandot Nessun dorma
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Alex Sanders
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.916140 Composed by Giacomo Puccini. Arranged by Aleksander Gref vel Alex Sanders. 20th Century,Concert,Opera,World...
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Chamber Orchestra - Level 3 - SKU: A0.916140 Composed by Giacomo Puccini. Arranged by Aleksander Gref vel Alex Sanders. 20th Century,Concert,Opera,World. Score and parts. 14 pages. Alex Sanders #6347687. Published by Alex Sanders (A0.916140). Puccini, string orchestra, Turandot, Nessun dorma, aria, opera, chamber orchestra.
$14.90
Homage to Sibelius
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Stanley M Hoffman
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Homage to Sibelius
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stanleymhoffman.com
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #89...
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Chamber Orchestra - Level 4 - SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #897424. Published by stanleymhoffman.com (A0.1308171). I have long wanted to compose an homage to Jean Sibelius. However, his music is copyright protected in the EU for another five years or so. Thus, I struggled with how to compose a work without any direct musical quotations, and yet which in some way captures the essence of his symphonic music. I had a breakthrough in recent weeks, and the result is an eleven-minute orchestral composition which manages to invoke his music without directly quoting it. The opening passage on which the piece is based invokes the opening of Symphony No. 6 without quoting it; also, my homage is in the key of A Minor whereas the symphony is in the key of D minor. The piece also invokes the orchestral colors of one of my other favorite pieces of Sibelius, The Swan of Tuonela. My composition is scored very closely to that one, but I ended up using two oboes; I never needed an English Horn, and I added two flutes to that scoring. Thus, the instrumentation is as follows: 2fl-2ob-1cl/bcl-2bn-4hn-3tbn-timp-bd-str; the duration is ca. 11:30. My homage also invokes the more youthful compositions of the great master, and of course features his biggest personal influence, the sounds of nature. Sibelius was a master of musical forms. He managed to create entirely original forms such as the one for Symphony No. 7. While I do not pretend to be in his league in any way, I did manage to compose a work in a four-part form, which is unusual, and not the least of which for me. The piece contains all kinds of indirect references to the music of Sibelius through the use of motifs, melodies, harmonies, ornamentation, and orchestration.While not the most original piece of music I have ever composed (that would be The City In the Sea: Choral Tone Poem), my Homage to Sibelius is among the most subtle of my works in that it contains a good deal of variation technique, and a lot of attention to detail. Like my Homage to Vaughan Williams for string orchestra, the idea was not to break new stylistic ground, but rather to pay homage to the ground broken by the master. More so than anything, my Homage to Sibelius invokes how the symphonic music of Sibelius makes me feel when I am listening to it. I hope you enjoy it.---HOMAGE TO SIBELIUS for Chamber OrchestraMusic by  Stanley M. Hoffman (b. 1959 [BMI]) Inspired by the Music of Jean Sibelius (1865–1957)NotePerformer 4 Audio and Scrolling Score Video Seeking Live PerformancesMusic:© Copyright 2023 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)comAll rights reserved.  The sheet music is available from the composer and from Sheet Music Plus.
$103.50
Le Api
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Orchestre de chambre
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FACILE
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Luis Enrique Bacalov, Sergio B
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Davide Bizzarri
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Le Api
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Davide Bizzarri
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.1300014 Composed by Luis Enrique Bacalov, Sergio Bardotti, and Vinicius De Moraes. Arranged by Davide Bizzarri. Ch...
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Chamber Orchestra - Level 2 - SKU: A0.1300014 Composed by Luis Enrique Bacalov, Sergio Bardotti, and Vinicius De Moraes. Arranged by Davide Bizzarri. Children,Pop,Singer/Songwriter. Score and Parts. 22 pages. Davide Bizzarri #889780. Published by Davide Bizzarri (A0.1300014). In this nice ironic song, the buzz of the bees is made with a Flute, but you can also use a kazoo. The orchestral arrangement is very simple to perform, and the tonality was adapted to the children's register. This file contains the full orchestral score and all the instrumental parts.
$49.99
Paola Magnanini: CENDRILLON (ES-22-021) - Score Only
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Paola Magnanini
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Paola Magnanini: CENDRILLON
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Sconfinarte
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1185442 Composed by Paola Magnanini. Classical,Contemporary. Score and parts. 164 pages. Sconfinarte #785130. Publ...
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Chamber Orchestra - Level 5 - SKU: A0.1185442 Composed by Paola Magnanini. Classical,Contemporary. Score and parts. 164 pages. Sconfinarte #785130. Published by Sconfinarte (A0.1185442). CENDRILLON (ES-22-021)Elaborazione di Paola Magnanini dell’Opera in tre atti di Pauline ViardotOrganico: Orchestra.
$20.00
The Baden-Baden Idyll
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Chris Gordon - Johannes Brahms
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Chris Gordon
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The Baden-Baden Idyll
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Cool Wind Music Digital
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.841253 Composed by Chris Gordon - Johannes Brahms - Robert Schumann. Arranged by Chris Gordon. Romantic Period. Sc...
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Chamber Orchestra - Level 4 - SKU: A0.841253 Composed by Chris Gordon - Johannes Brahms - Robert Schumann. Arranged by Chris Gordon. Romantic Period. Score and parts. 112 pages. Cool Wind Music Digital #3038341. Published by Cool Wind Music Digital (A0.841253). Full set of parts: Please contact Chris Gordon at cgordoncwm@gmail.com or coolwindmusic@gmail.com for further information..'The Baden-Baden Idyll' is scored for chamber or small orchestra. It requires divisi strings, at least 2 players per part, plus oboe, clarinet in B flat and A, bassoon and french horn in F. I wrote it to 'accompany' a story I have been writing about the French-Spanish opera diva and composer, Pauline Viardot-GarcÃa, and her brilliant circle of musician, artist, and writer friends in Baden-Baden in the 1860s which included Klara Schumann and Johannes Brahms. Pauline first performed Brahms' Alto Rhapsody which gives an indication of how much the composer admired and respected her as a singer.
$45.00
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
Holiday Medley
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Orchestre de chambre
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FACILE
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Noël
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Traditional
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Peter Tambroni
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Holiday Medley
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Peter Tambroni
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.850805 Composed by Traditional. Arranged by Peter Tambroni. Christmas. Score and parts. 14 pages. Peter Tambroni #...
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Chamber Orchestra - Level 2 - SKU: A0.850805 Composed by Traditional. Arranged by Peter Tambroni. Christmas. Score and parts. 14 pages. Peter Tambroni #25163. Published by Peter Tambroni (A0.850805). This is a simple arrangement for string orchestra of Jolly Old St. Nicholas, Good King Wenceslas and Adeste Fideles (O Come All Ye Faithful).Only the key of G is used and there are no accidentals. There is an optional advanced first violin part with some third position work to provide a challenge for more advanced players. The standard first violin is the same but an octave lower. The second violin part is almost identical but with some harmony notes. Dotted rhythms and hooked bowings have been using sparingly.The harmony is generally two part between upper and lower strings. The cello varies slightly from the bass to thicken the harmonies.Markings have been kept to a minimum to allow for flexibility, interpretation and to get students in the habit of notating their part.
$25.00
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)
$27.00
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