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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
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EUPHONIUM
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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
Into The Night
Non classifié
300
Piano & claviers
Piano seul
180
Piano, Voix
58
Piano Facile
40
Piano, Voix et Guitare
32
2 Pianos, 4 mains
23
Orgue
17
Piano Trio: piano, violon, violoncelle
8
Instruments en Do
7
1 Piano, 4 mains
5
Piano (partie séparée)
4
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Clavier
1
+ 8 instrumentations
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Guitares
Guitare notes et tablatures
33
Guitare
8
Guitare (partie séparée)
6
Ligne De Mélodie, (Paroles) et Accords
5
Ukulele
3
Basse electrique
2
Piano, Guitare (duo)
2
Ensemble de Ukulélés
1
+ 3 instrumentations
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Voix
Chorale SATB
82
Chorale 3 parties
18
Chorale 2 parties
16
Chorale TTBB
12
Voix duo, Piano
8
Chorale Unison
6
Chorale SSAA
6
Voix Soprano, Piano
5
Voix haute
3
Voix duo
3
Voix Tenor, Piano
2
Voix moyenne, Piano
2
Voix seule
1
Voix Baryton, Piano
1
Voix Alto, Piano
1
Voix basse
1
+ 11 instrumentations
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Vents
2 Saxophones (duo)
47
Quatuor de Saxophones: 4 saxophones
34
Saxophone (partie séparée)
28
Flûte traversière et Piano
26
Clarinette et Piano
24
3 Saxophones (trio)
22
Saxophone Alto et Piano
20
Quintette de Saxophone: 5 saxophones
20
Saxophone Soprano et Piano
19
Saxophone Tenor et Piano
18
Hautbois, Piano (duo)
17
Flûte, Hautbois, Clarinette, Basson
16
2 Flûtes traversières (duo)
15
Clarinette
13
Saxophone Baryton, Piano
13
2 Clarinettes (duo)
11
Quatuor de Clarinettes: 4 clarinettes
11
Quatuor de Flûtes : 4 flûtes
10
Hautbois, Clarinette, Basson (trio d'anches)
9
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
9
2 Hautbois (duo)
9
2 Flûte à bec (duo)
8
Ensemble de saxophones
8
Trio de Flûtes: 3 flûtes
8
Saxophone Alto
7
Flûte, Clarinette (duo)
7
Saxophone Tenor
6
3 Clarinettes (trio)
6
Quintette de Clarinettes: 5 clarinettes
5
Hautbois (partie séparée)
5
Cor anglais, Piano
5
Flûte, Hautbois (duo)
4
Hautbois, Clarinette (duo)
4
Hautbois, Basson (duo)
4
Ensemble de Clarinettes
4
Flûte, Hautbois, Basson
4
Flûte traversière
4
Flûte, Hautbois, Piano (trio)
4
Clarinette Basse, Piano
4
Flûte, Hautbois, Clarinette (trio)
4
Flute (partie séparée)
4
Quintette de Flûte : 5 flûtes
4
3 Flûtes à bec (trio)
2
Saxophone Soprano
2
Saxophone Baryton
2
Hautbois
2
Clarinette (partie séparée)
2
Quatuor de Flûtes à bec
2
Flûte à bec Soprano, Piano
2
5 Flûtes à bec
2
Ensemble de Flûtes
1
Clarinette, Guitare (duo)
1
Flûte à Bec, Piano
1
Flûte à bec Tenor
1
Flûte, Clarinette, Piano (trio)
1
Flûte à bec Soprano
1
+ 51 instrumentations
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Cuivres
Trombone et Piano
18
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
17
Trompette, Piano
15
Tuba et Piano
14
Trombone (partie séparée)
13
Cor et Piano
13
Trompette
12
Quatuor de Cuivres: 2 trompettes, Cor, trombone
11
Euphonium, Piano (duo)
9
Trompette (partie séparée)
9
Quatuor de Cuivres : 2 trompettes, trombone, tuba
7
Trombone
7
Tuba
7
Quatuor de Cuivres
6
2 Cors (duo)
6
Cor
6
2 Trombones (duo)
5
2 Trompettes (duo)
5
Cor (partie séparée)
5
Cor anglais, Piano
5
Tuba (partie séparée)
3
Ensemble de Trompettes
2
2 Tubas (duo)
2
Ensemble de Cors
2
Ensemble de Trombones
2
Trompette, Cor (duo)
2
Quatuor de cuivres: 4 trombones
1
Ensemble de Tubas
1
Trompette, Euphonium (duo)
1
4 Tubas
1
+ 25 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
39
Violon et Piano
30
Violoncelle, Piano
25
Alto, Piano
21
Violoncelle
18
Trio à Cordes: violon, alto, violoncelle
16
Violon
16
2 Violoncelles (duo)
15
Harpe
14
2 Altos (duo)
13
2 Violons (duo)
13
Alto seul
9
Contrebasse, Piano (duo)
9
Violon, Violoncelle (duo)
6
Contre Basse
6
4 Violoncelles
5
Contrebasse (partie séparée)
5
Alto, Violoncelle (duo)
4
Trio à Cordes: 3 violoncelles
4
Quatuor à cordes: 4 violons
4
Quatuor à cordes : 4 altos
4
Violon, Alto (duo)
4
Trio à cordes: 3 violins
4
Piano Trio: Violon, Alto, Piano
3
2 Contrebasses (duo)
3
Violon (partie séparée)
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Alto (partie séparée)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Trio à cordes: 3 altos
2
Harpe, Violon (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
Ensemble de Violons
1
Alto et Basson
1
Ensemble d'Altos
1
Violoncelle (partie séparée)
1
Alto, Guitare (duo)
1
+ 33 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
118
Orchestre
28
Ensemble Jazz
19
Orchestre à Cordes
13
Cloches
11
Ensemble de cuivres
8
Orchestre de chambre
4
Fanfare
3
Batterie (partie séparée)
3
Batterie
2
Jazz combo
2
Ensemble d'École
2
Ensemble de Percussions
2
Xylophone, Piano
1
Marimba
1
+ 10 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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BOUZOUKI
CHORALE - CHAN…
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CLAIRON
CLARINETTE
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Vous avez sélectionné:
Into The Night
Orchestre de chambre
Partitions à imprimer
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PEACE, MY HEART, from "Across the Wide" for soprano and string ensemble with piano
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Orchestre de chambre
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INTERMÉDIAIRE
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Gabriel Ruiz-Bernal
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PEACE, MY HEART, from "Ac
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Gabriel Ruiz-Bernal
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.893968 Composed by Gabriel Ruiz-Bernal. Contemporary,Musical/Show. Score and parts. 33 pages. Gabriel Ruiz-Bernal ...
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Chamber Orchestra - Level 3 - SKU: A0.893968 Composed by Gabriel Ruiz-Bernal. Contemporary,Musical/Show. Score and parts. 33 pages. Gabriel Ruiz-Bernal #6328079. Published by Gabriel Ruiz-Bernal (A0.893968). PEACE, MY HEART. For soprano and string ensemble with piano. Also available for soprano and piano.(from song cycle Across the Wide: Songs of Farewell)Text by Rabindranath TagoreLevel of difficulty for the voice: IntermediateLevel of difficulty for the pianist: Low intermediateLevel of difficulty for the string ensemble: Low intermediateApproximate length: 3 minutes, 46 secondsPeace, my heart, let the time for the parting be sweet.Let it not be a death but completeness.Let love melt into memory and pain into songs.Let the flight through the sky end in the folding of the wings over the nest.Let the last touch of your hands be gentle like the flower of the night.Stand still, O Beautiful End, for a moment, and say your last words in silence.I bow to you and hold up my lamp to light you on your way.
$40.00
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
Pájaros (Birds) for solo flute and strings
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Adrienne Inglis
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Pájaros
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Adrienne Inglis
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.953618 Composed by Adrienne Inglis (ASCAP). Contemporary,Latin,World. Score and parts. 42 pages. Adrienne Inglis (...
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Chamber Orchestra - Level 4 - SKU: A0.953618 Composed by Adrienne Inglis (ASCAP). Contemporary,Latin,World. Score and parts. 42 pages. Adrienne Inglis (ASCAP) #4792829. Published by Adrienne Inglis (ASCAP) (A0.953618). Pájaros for solo flute and strings (2017) captures the springtime songs of many Texas Hill Country birds, including the beloved Golden-cheeked Warbler, and sets them to flirtatious Latin rhythms.As an avid bird lover, the composer sets some of her favorite bird songs to music in Pájaros for solo flute and strings. The birds featured in this piece nest every spring in the Hill Country of Texas, west of Austin. As daylight turns to dusk, the Bewick's Wren's tuneful song unfolds over an Argentine tango rhythm, accompanied by the Northern Cardinal, Lesser Goldfinch, and Northern Bobwhite. A Red-tailed Hawk startles all the songbirds into momentary silence. As they resume their singing, dusk fades into darkness and various insects start their incessant chirping. The mysterious Chuck-will's-widow sings its mournful call all night long, set here to a Venezuelan pasaje rhythm. When day breaks, the Golden-cheeked Warbler sings its two songs from the treetops to stake out its territory and attract a mate. The Cuban danzón provides the backdrop for its flirtatious tunes.Duration about 6:00.Recognition:Pájaros was selected as one of 55 finalists chosen from almost 2200 entries from 76 countries in the Kaleidoscope Chamber Orchestra 2018 Call for Scores.
$8.99
Press Play
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Orchestre de chambre
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AVANCÉ
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Till MacIvor Meyn
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Press Play
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Till MacIvor Meyn
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1027496 Composed by Till MacIvor Meyn. 20th Century,Contemporary,Pop. Score and parts. 86 pages. Till MacIvor Meyn...
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Chamber Orchestra - Level 5 - SKU: A0.1027496 Composed by Till MacIvor Meyn. 20th Century,Contemporary,Pop. Score and parts. 86 pages. Till MacIvor Meyn #550691. Published by Till MacIvor Meyn (A0.1027496). Submitted for 2015 Areon Flutes International Chamber Music Composition Competition, ‘Press Play’ was composed for internationally renowned bassoonist Scott Pool. When I was growing up in the 1980s, I had a rather large cassette tape collection with many different types of music; my friends and I spent much of our time browsing through each other’s sets and listening to diverse rock albums. ‘Press Play’ is designed to represent the format of an EP album, though the music contained is a mix of styles. Track 1 is a chorale-style introductory movement that features the bassoon in brief solo passages between the chordal string sections. Hit Single is basically a pop song for bassoon and strings. In Deep Cut, the instruments explore a slow contrapuntal texture; the title refers to an obscure type of track on an album that radio stations are less likely to air, except perhaps on late night shows. Deep Cut accelerates in the second half, and moves almost directly into Hidden Track, named for a type of song that some albums hide after all the popular songs are over. Hidden Track also features an acceleration from beginning to end, and has a style and format similar to process music.
$26.00
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Into The Night
