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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
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Ligne De Mélodie, (Paroles) et Accords
39
Ukulele
31
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37
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3
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80
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27
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21
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19
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18
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16
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13
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13
Clarinette
12
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11
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10
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10
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8
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8
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8
Saxophone Tenor
8
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7
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7
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6
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5
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57
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55
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55
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27
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19
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Cor
11
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8
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7
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5
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2 Euphoniums et 2 Tubas
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2
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2
2 Trombones (duo)
2
Quatuor de Cuivres
2
Tuba ou Euphonium ou Saxhorn
1
Cor anglais, Piano
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Quatuor de cuivres: 4 trompettes
1
Trompette, Saxophone (duo)
1
Trombone basse
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2 Cors (duo)
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Quatuor à cordes: 2 violons, alto, violoncelle
117
Violon
33
Violon et Piano
19
Harpe
16
Violoncelle, Piano
15
Violoncelle
12
Alto, Piano
12
2 Violons (duo)
10
Violon, Violoncelle (duo)
10
Violon (partie séparée)
9
2 Violoncelles (duo)
7
Trio à Cordes: violon, alto, violoncelle
7
Trio à Cordes: 2 violons, violoncelle
6
Contrebasse (partie séparée)
6
2 Altos (duo)
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
Alto (partie séparée)
5
Alto seul
4
Contre Basse
3
Alto, Violoncelle (duo)
3
2 Harpes (duo)
3
Contrebasse, Piano (duo)
2
Trio à Cordes: 3 violoncelles
2
Violoncelle (partie séparée)
1
Violoncelle, Orchestre
1
2 Contrebasses (duo)
1
Violon, Alto (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
154
Orchestre à Cordes
26
Batterie
26
Ensemble Jazz
23
Percussion (partie séparée)
20
Fanfare
19
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14
Orchestre
14
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12
Orchestre de chambre
5
Cloches
4
Percussion
4
Ensemble de Percussions
2
Xylophone
2
Vibraphone
2
Timbales (partie séparée)
1
Caisse Claire
1
Piano et Orchestre
1
Jazz combo
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AUTRES
Vous avez sélectionné:
Fly - Guitar 2
Orchestre de chambre
Partitions à imprimer
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The Emergence, Parts 1 & 2
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1009779 Composed by (Gustav …
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1009779 Composed by (Gustav Mahler). Arranged by Trey Demmond. 20th Century,Contemporary. Score and parts. 20 pages. TreyD Music & Media, LLC #28413. Published by TreyD Music & Media, LLC (A0.1009779). Both Parts 1 & 2 of The Emergence are joined to project the birth, glory, and fading of something truly amazing! For me, it was watching a dragonfly emerge from its pupa casing!
$55.00
49.61 €
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Orchestre de chambre
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(Gustav Mahler)
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Trey Demmond
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The Emergence, Parts 1 & 2
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TreyD Music & Media, LLC
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SheetMusicPlus
Flying South Oboe Solo with Orchestra Score and Parts PDF
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.750876 Composed by Brendan E…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.750876 Composed by Brendan Elliget MAGA 537. Contemporary,Latin. Score and parts. 32 pages. BJE Music #4323875. Published by BJE Music (A0.750876). This little piece features a plaintive yet restful Oboe Solo theme with Small Orchestra of Flute, Oboe, 3 Clarinets, Horns in F, Bassoon, Violin 1, Violin 2, Viola, Cello, Double Bass, Piano and Harp… It suggested to me a bird or group of birds flying. Let me know what you think…The MP3 certainly gives a better idea of how the piece should sound! Grade = 3.5 Duration 3 mins. .
$20.00
18.04 €
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Orchestre de chambre
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Brendan Elliget MAGA 537
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Flying South Oboe Solo with Orchestra Score and Parts PDF
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BJE Music
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SheetMusicPlus
Flying Lotus - Score Only
Orchestre de chambre
Chamber Orchestra - Level 2 - Digital Download SKU: A0.1077644 By Angelos Mavros. B…
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Chamber Orchestra - Level 2 - Digital Download SKU: A0.1077644 By Angelos Mavros. By Angelos Mavros. Arranged by Angelos Mavros. Classical,Contemporary. Score and parts. 32 pages. Partiturae Immortales #681851. Published by Partiturae Immortales (A0.1077644). An orchestration for a post-apocalyptic / dystopic future.
$5.00
4.51 €
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Orchestre de chambre
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Angelos Mavros
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Angelos Mavros
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Flying Lotus - Score Only
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Partiturae Immortales
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SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download 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
50.5 €
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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
The Blue Bird for flute and strings
Orchestre de chambre
Chamber Orchestra - Level 2 - Digital Download SKU: A0.579926 Composed by Charles V…
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Chamber Orchestra - Level 2 - Digital Download SKU: A0.579926 Composed by Charles Villiers Stanford. Arranged by David Warin Solomons. 20th Century,Concert,Romantic Period. Score and parts. 7 pages. David Warin Solomons #3464571. Published by David Warin Solomons (A0.579926). Instrumental arrangement of Stanford's choral piece about seeing a blue bird flying across a lake.
$8.00
7.22 €
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Orchestre de chambre
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Charles Villiers Stanford
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David Warin Solomons
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The Blue Bird for flute and strings
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David Warin Solomons
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SheetMusicPlus
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