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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
If My People
Non classifié
175
Piano & claviers
Piano seul
79
Piano, Voix
38
Instruments en Do
17
Piano Facile
13
Piano, Voix et Guitare
12
Orgue
3
Piano (partie séparée)
2
Accompagnement Piano
2
1 Piano, 4 mains
1
Accordéon
1
Piano grosses notes
1
2 Pianos, 8 mains
1
+ 7 instrumentations
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Guitares
Basse electrique
3
Guitare notes et tablatures
3
Guitare
2
Voix
Chorale SATB
31
Chorale 3 parties
8
Chorale TTBB
4
Chorale 2 parties
2
Voix Baryton, Piano
1
Pack Instrumental pour Chorale
1
Voix Tenor
1
Chorale SSAA
1
Chorale SSATTB
1
Voix duo, Piano
1
+ 5 instrumentations
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Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
45
Quintette de Saxophone: 5 saxophones
44
Clarinette (partie séparée)
5
Ensemble de Clarinettes
5
Saxophone (partie séparée)
3
Quintette de Flûte : 5 flûtes
3
2 Saxophones (duo)
3
Hautbois (partie séparée)
3
Quatuor de Clarinettes: 4 clarinettes
2
Quatuor de Saxophones: 4 saxophones
2
Flûte traversière et Piano
2
Flute (partie séparée)
2
Clarinette, Trombone (duo)
1
Flûte et Guitare
1
Saxophone Alto et Piano
1
2 Flûtes traversières (duo)
1
Saxophone Alto
1
Flûte, Clarinette (duo)
1
Ensemble de saxophones
1
Saxophone et Orgue
1
Flûte, Hautbois, Clarinette, Basson
1
Clarinette, Basson (duo)
1
Flûte, Alto (duo)
1
Clarinette Basse, Piano
1
Hautbois, Piano (duo)
1
Clarinette, Violoncelle (duo)
1
Clarinette et Piano
1
Quatuor de Flûtes : 4 flûtes
1
Clarinette
1
Harmonica
1
Saxophone Baryton, Piano
1
Cor anglais, Piano
1
Cor Anglais
1
2 Clarinettes (duo)
1
Ensemble de Flûtes
1
Saxophone Tenor et Piano
1
Saxophone Soprano et Piano
1
+ 32 instrumentations
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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
20
Trombone (partie séparée)
5
Trompette (partie séparée)
5
Ensemble de Trompettes
4
Trompette
4
Ensemble de Trombones
4
Cor (partie séparée)
3
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
3
Trombone et Piano
2
Cor
1
Euphonium, Piano (duo)
1
Tuba
1
Cor anglais, Piano
1
Cor Anglais
1
Trompette, Saxophone (duo)
1
Tuba (partie séparée)
1
+ 11 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
9
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
Violoncelle
6
Violon (partie séparée)
4
Ensemble de Violons
4
Ensemble d'Altos
4
Violon et Piano
3
Contrebasse (partie séparée)
2
Alto seul
2
Alto (partie séparée)
2
Violon
2
Harpe, Voix
1
Alto, Piano
1
2 Violons (duo)
1
Violoncelle (partie séparée)
1
Alto, Violoncelle (duo)
1
Alto et Basson
1
Harpe (partie séparée)
1
+ 13 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
64
Orchestre
14
Jazz combo
5
Ensemble Jazz
5
Orchestre à Cordes
3
Percussion (partie séparée)
3
Orchestre de chambre
2
Cloches
1
Ensemble de Percussions
1
Percussion
1
Timbales (partie séparée)
1
+ 6 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
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FLUTE DE PAN
FLUTE TRAVERSI…
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Vous avez sélectionné:
If My People
Orchestre de chambre
Partitions à imprimer
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Fitch Overture for chamber orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Joseph Dillon Ford
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Fitch Overture for chamber orc
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David Warin Solomons2
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.958398 Composed by Joseph Dillon Ford. 20th Century,Contemporary. Score and parts. 21 pages. David Warin Solomons2...
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Chamber Orchestra - Level 4 - SKU: A0.958398 Composed by Joseph Dillon Ford. 20th Century,Contemporary. Score and parts. 21 pages. David Warin Solomons2 #3680711. Published by David Warin Solomons2 (A0.958398). The life of Fitch was so remarkable and has so much to teach us about the illusory America in which so many of us believe that it would make for a riveting motion picture if the novel could be turned into a film script. It would be lovely if the music could be used in such a motion picture project, but I doubt it will ever come to that. I rather think I'll end up pretty much like my Uncle John (Fitch really was my fifth great grandmother's brother) - broken and impecunious after a life of trying passionately to accomplish something worthwhile. The bitter irony is that Fitch's talent did lie in an eminently practical field, as steam-powered transportation and technology was cutting edge by the early nineteenth century when people like Robert Fulton profited handsomely from Uncle John's ideas. But Fitch was a visionary whose work far exceeded the narrow perceptions and self-interest of his countrymen - including such founding fathers as Franklin and Jefferson! Sadly, John Fitch intentionally -or perhaps accidentally -committed suicide by overdosing on an opium-based pain medication which, in combination with his drinking, proved to be fatal.
$10.00
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: The Acts of the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music...
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Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
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If My People
