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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
Even Then
Non classifié
397
Piano & claviers
Piano seul
231
Accompagnement Piano
50
Piano Facile
30
Piano, Voix
29
Orgue
28
Piano, Voix et Guitare
26
1 Piano, 4 mains
17
Instruments en Do
11
Piano Trio: piano, violon, violoncelle
10
Piano Quatuor: piano, violon, alto, violoncelle
4
Piano (partie séparée)
2
Orgue, Piano (duo)
1
2 Pianos, 4 mains
1
Clavier
1
Orgue, Trompette (duo)
1
+ 10 instrumentations
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Guitares
Guitare notes et tablatures
56
Guitare
11
2 Guitares (duo)
8
Guitare (partie séparée)
4
4 Guitares (Quatuor)
3
Basse electrique
3
Ligne De Mélodie, (Paroles) et Accords
2
Paroles et Accords
2
Banjo
2
Orchestre à Plectres
1
Ukulele
1
+ 6 instrumentations
Retracter
Voix
Chorale SATB
100
Chorale 3 parties
22
Chorale TTBB
10
Chorale 2 parties
7
Chorale SSAA
7
Chorale Unison
6
Voix Alto, Piano
2
Voix haute
2
Voix duo, Piano
2
Voix basse, Piano
1
+ 5 instrumentations
Retracter
Vents
Flûte traversière et Piano
70
Clarinette et Piano
57
Hautbois, Piano (duo)
41
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
39
Saxophone Tenor et Piano
32
Saxophone Alto et Piano
31
Saxophone Baryton, Piano
29
Clarinette
29
Quatuor de Saxophones: 4 saxophones
28
Saxophone Soprano et Piano
26
2 Flûtes traversières (duo)
24
Flûte traversière
22
Quintette de Saxophone: 5 saxophones
21
3 Saxophones (trio)
17
Saxophone Alto
17
Flûte, Hautbois, Clarinette, Basson
16
Saxophone Tenor
16
Saxophone (partie séparée)
15
2 Saxophones (duo)
15
Cor anglais, Piano
15
Hautbois
12
Clarinette Basse, Piano
11
Saxophone Soprano
11
Quatuor de Flûtes : 4 flûtes
11
Ensemble de Flûtes
10
Quatuor de Clarinettes: 4 clarinettes
8
Saxophone Baryton
7
Quintette de Clarinettes: 5 clarinettes
7
Flûte, Hautbois, Clarinette (trio)
6
Ensemble de Clarinettes
6
Quintette de Flûte : 5 flûtes
6
2 Clarinettes (duo)
6
Hautbois, Clarinette, Basson (trio d'anches)
5
Ensemble de saxophones
4
Trio de Flûtes: 3 flûtes
3
Flûte, Clarinette (duo)
3
Clarinette, Guitare (duo)
3
3 Clarinettes (trio)
3
Saxophone, Clarinette (duo)
3
Hautbois (partie séparée)
3
Clarinette, Harpe (duo)
2
Clarinette, Violon (duo)
2
Ocarina
2
Flute (partie séparée)
2
Quatuor de Flûtes à bec
2
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Hautbois, Basson (duo)
1
Flûte et Guitare
1
2 Clarinettes, Piano
1
2 Flûte à bec (duo)
1
Ensemble de Hautbois
1
Flûte à bec Alto, Piano
1
Flûte, Clarinette et Basson
1
Clarinette (partie séparée)
1
Flûte, Clarinette, Piano (trio)
1
Saxophone et Guitare
1
Hautbois, Clarinette (duo)
1
2 Hautbois (duo)
1
Clarinette, Trompette (duo)
1
Saxophone
1
Ensemble à vent
1
5 Flûtes à bec
1
Cor anglais, Guitare (duo)
1
2 Clarinettes, Basson
1
2 Flûtes traversières, Piano
1
Clarinette et Alto
1
Flûte irlandaise
1
Flûte, Violon
1
Flûte, Hautbois (duo)
1
3 Flûtes à bec (trio)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Hautbois, Flûte
1
Flûte, trombone et piano
1
Flûte, Hautbois, Basson
1
Flûte, Alto (duo)
1
Cor Anglais
1
Clarinette, Basson (duo)
1
Piccolo, Piano
1
Flûte et Trio à cordes
1
Flûte, Saxophone (duo)
1
+ 75 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
41
Trombone et Piano
37
Trompette, Piano
35
Trompette
30
Cor et Piano
29
Euphonium, Piano (duo)
22
Trombone
15
Cor anglais, Piano
15
Tuba et Piano
14
Cor
13
Tuba
12
Quatuor de Cuivres: 2 trompettes, Cor, trombone
10
Trompette, Trombone (duo)
9
Trombone (partie séparée)
9
Trompette (partie séparée)
7
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Quatuor de Cuivres
5
2 Euphoniums et 2 Tubas
3
Ensemble de Cors
3
Ensemble de Trompettes
3
2 Trompettes (duo)
3
2 Cors (duo)
3
Trompette, Saxophone (duo)
2
Trio de Cuivres
2
Tuba (partie séparée)
2
3 Trombones (trio)
2
2 Trombones (duo)
2
Quatuor de cuivres: 4 trombones
2
Cor (partie séparée)
2
2 Tubas (duo)
2
Trompette, Cor (duo)
1
Quatuor de cuivres: 4 trompettes
1
Quatuor de cuivres: 4 cors
1
3 Euphoniums
1
Ensemble de Trombones
1
Cor anglais, Guitare (duo)
1
3 Tubas (trio)
1
3 Cors (trio)
1
Trompette, Harpe
1
Cor Anglais
1
Tuba et Orgue
1
Cor et Harpe
1
+ 37 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
214
Violon, Violoncelle (duo)
159
Violon
138
Trio à Cordes: violon, alto, violoncelle
128
Violon et Piano
52
Alto, Piano
48
Violoncelle, Piano
40
Quintette à cordes: 2 violons, alto, violoncelle, basse
31
Violoncelle
24
Alto seul
16
2 Harpes (duo)
11
Trio à Cordes: 2 violons, violoncelle
11
Harpe
11
Contrebasse, Piano (duo)
10
Violon, Alto (duo)
9
Contre Basse
7
2 Violons (duo)
7
2 Violoncelles (duo)
4
2 Altos (duo)
4
Violon (partie séparée)
4
Contrebasse (partie séparée)
3
Alto, Violoncelle (duo)
3
Alto (partie séparée)
2
Alto et Harpe
2
4 Violoncelles
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violoncelle, Orgue
1
Alto, Guitare (duo)
1
Violon, Clarinette, Piano (trio)
1
Violoncelle (partie séparée)
1
Trio à Cordes: 3 violoncelles
1
Violon, Guitare (duo)
1
Ensemble d'Altos
1
Trio à cordes: 3 violins
1
Violon, Orgue
1
Violoncelle , Guitare (duo)
1
Trio à Cordes: 2 violons, alto
1
Ensemble de Violons
1
+ 33 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
124
Orchestre d'harmonie
77
Orchestre
30
Ensemble de cuivres
19
Cloches
13
Ensemble Jazz
10
Orchestre de chambre
8
Batterie
4
Batterie (partie séparée)
2
Fanfare
2
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Xylophone, Piano
1
Marimba
1
Ensemble de Percussions
1
Quintette de Cuivres: autres combinaisons
1
Vibraphone et Marimba
1
Orchestre, Violon
1
Ensemble d'École
1
+ 13 instrumentations
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Autres
Instruments
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CLAIRON
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CONTREBASSE
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COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
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LUTH, THEOR…
MANDOLINE
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ORGUE
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PERCU. ORCH…
PERCUSSION
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SAXOPHONE
SYNTHE
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TROMPETTE
TUBA
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VIELLE A RO…
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VIOLON
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TRI ET FILTRES
TRI ET FILTRES
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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
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UKULELE
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VIOLON
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XYLOPHONE
style (tous)
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ASIE
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CELTIQUE - IRISH - S…
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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
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Vous avez sélectionné:
Even Then
Orchestre de chambre
Partitions à imprimer
8 partitions trouvées
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1
Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Karl Friedrich Abel
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Guido Menestrina
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Karl Friedrich Abel - Sinfonia
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Guido Menestrina
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido ...
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Chamber Orchestra - Level 3 - SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido Menestrina #122893. Published by Guido Menestrina (A0.828700). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Adagio Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse, tacet on 2nd movement), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. Follow the score on youtube: https://www.youtube.com/watch?v=_urGVpH7Pls.
$7.99
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
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
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Orchestre de chambre
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AVANCÉ
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Classique
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Georg Philipp Telemann
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Sneakwood Editions
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TELEMANN – VIOLIN CONCER
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Sneakwood Editions
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 ...
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Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767). Edition based on Ms. D MÜu, ms. 775Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)www.snakewoodeditions.com
$18.00
Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Neth
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Flavio Regis Cunha
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Bach: Aria 'Mache dich, mein H
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis ...
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Chamber Orchestra - Level 4 - SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and Parts. 51 pages. Flavio Regis Cunha #874665. Published by Flavio Regis Cunha (A0.1283479). Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra from the St Matthew Passion (BWV 244).Discover timeless music with the Bach classic - 'Mache dich, mein Herze, Rein'! Enjoy the intricate and vibrant performance of the piece from the renowned Netherlands Bach Society. Perfect for both professional orchestras and soloists – as well for the joy of schools performing the revered composer's masterpiece. Get the perfect accompaniment for your performance with the authentic sheet music available now!The aria 'Mache dich, mein Herze, rein' from the St Matthew Passion (BWV 244), performed here by the Netherlands Bach Society and conducted by Jos van Veldhoven for All of Bach. The St Matthew Passion tells the story of the last days of Jesus. He is betrayed, tried, crucified and buried. The lyrics were compiled by Picander (the pseudonym of Christian Friedrich Henrici), probably in close consultation with Bach himself. For their theme, they took the story as told by St Matthew the Evangelist. As different groups or people have their say, the singers get different roles – Christ, Judas, Peter, a slave girl, the pupils, the high priests, the people and the soldiers, etc. At key moments in the story, Bach and Picander added chorales and arias as a reflection of the biblical story. The action is suspended and the events are placed in the theological context of Bach’s day. The chorale lyrics and melodies come from the Lutheran hymn book, and were well known to the congregation in Leipzig. Even though Bach’s harmonies were new, everyone would have recognised the melody and the words. The lyrics for the opening and closing choruses and the arias were brand new, however. Both the arias and the chorales often link up seamlessly with the evangelical words. Advanced IntermediateFormat: Concert, 9 x 12 inches51 pagesProgram NotesMache dich, mein Herze, rein is a deeply poignant and emotional piece from the renowned work by Johann Sebastian Bach, St Matthew Passion (BWV 244). Written as a part of the 16th passion oratorio as a love song sung by Jesus to his disciples, this piece brilliantly conveys the struggle of redemption and longing for peace.Accompanied by a chamber baroque orchestra, the stark vocal line is delivered with an intense intricacy by the bass solo. Each note is carefully laden with sincere emotion, imbuing within the words a sense of longing and deep sorrow. As the piece progresses, the reprise of the chorus adds a layer of reflection to the message, driving home the power of the connection between Christ and his disciples.Mache dich, mein Herze, rein is a highly moving and truly remarkable piece of music that has rightly earned a place amongst Bach's most renowned works. Mache dich, mein Herze, rein is one of the most stunningly tender and moving chorales from Johann Sebastian Bach's monumental oratorio the St Matthew Passion (BWV 244). Originally written with a full choral accompaniment for the Easter Week Vespers of 1729, Bach's skilful reworking of the melody for bass and chamber baroque orchestra in the St Matthew Passion gives the solo voice a unique poignancy and fragility. The Lutheran chorale on which Bach based his composition speaks of hearts needing to be cleansed of sin and sorrow as they prepare to meet the Savior - an idea timeless in its poignancy and universality. Bach's arrangement is akin to a prayer of reflection and contemplation, the music's restrained dynamics and sighing counterpoint creating an atmosphere of resignation and acceptance. Mache dich, mein Herze, rein is a sublime masterpiece of sacred music, truly embodying the spirit of Easter.
$18.99
Scarborough Affair
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Orchestre de chambre
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INTERMÉDIAIRE
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Phil Thrift
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Phil Thrift
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Scarborough Affair
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Phil Thrift
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.955747 Composed by Phil Thrift. Arranged by Phil Thrift. 20th Century,Folk,Jazz. Score and parts. 80 pages. Phil T...
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Chamber Orchestra - Level 3 - SKU: A0.955747 Composed by Phil Thrift. Arranged by Phil Thrift. 20th Century,Folk,Jazz. Score and parts. 80 pages. Phil Thrift #6674855. Published by Phil Thrift (A0.955747). If you’re looking for a respectable, for the listener undemanding, arrangement of the well-known English folk song Scarborough Fair, then this version may not be for you. Scarborough Affair is a refreshing new take on the original: The familiar melody is never heard in its entirety, there are jazzy harmonies and jazzy syncopations, 5/8 and 7/8 measures, and the arrangement isn’t even in the 3/4 time of the original song. When a 3/4 section does finally appear, featuring a solo for your cor anglais player, the listener gets to hear a variation on the well-known tune.This arrangement is the chamber orchestra edition of the original arrangement I wrote for a wind ensemble and has parts for the following instruments:3 flutes (3rd flute doubling piccolo)2 oboesCor anglais2 Bb clarinets2 bassoonsTrumpet (C and Bb parts included)TromboneHarpsichord doubling pianoStringsYour horn and percussion players can take a break and you may wish to reduce the number of strings.
$26.99
7 Fragments for Pierrot Ensemble
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Per Christian Arnesen
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7 Fragments for Pierrot Ensemb
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Per Christian Arnesen
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1016966 Composed by Per Christian Arnesen. 20th Century,Contemporary. Score and parts. 56 pages. Per Christian Arn...
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Chamber Orchestra - Level 4 - SKU: A0.1016966 Composed by Per Christian Arnesen. 20th Century,Contemporary. Score and parts. 56 pages. Per Christian Arnesen #5994499. Published by Per Christian Arnesen (A0.1016966). Seven Fragments were composed in 1995 – 1996, and had its first performance the fall same year, at the famous Aula in Oslo University, Norway. Seven Fragments were then described as Psychedelic Doll Theater Music. The fragments was first written for piano, clarinet, double bass and one percussion player (vibraphone, triangle, chimes and five roto-toms, or octobans if toms are not available), and was rearranged in 2016 for Pierrot Ensemble, for recording by musicians of Brno Philharmonic Orchestra, and released on ABLAZE Records, Pierrot Ensemble Series vol. 1 in 2017.
$19.99
Metamorphosis
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Daniel Burwasser
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Metamorphosis
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Head and Stem
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1097212 Composed by Daniel Burwasser. Classical,Contemporary. Score and Parts. 140 pages. Head and Stem #701166. P...
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Chamber Orchestra - Level 5 - SKU: A0.1097212 Composed by Daniel Burwasser. Classical,Contemporary. Score and Parts. 140 pages. Head and Stem #701166. Published by Head and Stem (A0.1097212). The composition of Metamorphosis for chamber orchestra began in the Fall of 1985 and was completed in February of 1986 when the composer was just 26. This score represents a newly revised edition done in 2022. Every effort was made to maintain the original intention of the piece. Metamorphosis is a work that conveys the essence of transformation and change. It explores the emotional and sonic journey of a metamorphic process, capturing the stages of evolution, growth, and eventual emergence. Metamorphosis represents a brief early period in the composer’s output where a more dissonant harmonic language was used or where the tonality becomes more ambiguous. The composition begins with a sense of anticipation, using subtle and mysterious musical elements to represent the initial state before transformation. In the opening bars for instance, one hears a suggestion of the Scriabin “mystic†chord which also loosely serves as the basis of the piece.. A brief hat-tipping moment is where a few bars of the Ravel string quartet is paraphrased (listen for it!). The work then travels through various cycles and episodes and only hints at the chord along the way. For more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
$60.00
Dreams - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan Guerra González
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Dreams - Score Only
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Juan Carlos Guerra Gonzalez
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062...
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Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLY Please visit www.juancarlosguerra.com/dreams to buy or rent the parts. Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players: 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Note“Dreams†is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Island’s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work. I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams. II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the “heartbeat†played by the bass drum and timpani, then a more “stressful†section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose! III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a “oriental†style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra González
$159.99
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