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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
LOVE IS REAL
Sheetmusicplus
Non classifié
275
Piano & claviers
Piano seul
184
Piano, Voix
153
Piano Facile
59
Piano, Voix et Guitare
36
Instruments en Do
27
Orgue
10
Accompagnement Piano
4
1 Piano, 4 mains
3
Piano Trio: piano, violon, violoncelle
3
2 Pianos, 4 mains
2
Accordéon
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 7 instrumentations
Retracter
Guitares
Ligne De Mélodie, (Paroles) et Accords
38
Guitare
17
Guitare notes et tablatures
11
Basse electrique
6
Ukulele
4
2 Guitares (duo)
3
4 Guitares (Quatuor)
1
Banjo
1
Dulcimer
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
104
Chorale 3 parties
32
Chorale TTBB
26
Chorale 2 parties
19
Chorale SSAA
17
Voix Alto, Piano
10
Voix haute
10
Voix Soprano, Piano
5
Chorale Unison
4
Voix duo
3
Voix Tenor, Piano
2
Voix duo, Piano
2
Chorale SSATTB
1
Voix Mezzo-Soprano, Piano
1
+ 9 instrumentations
Retracter
Vents
Hautbois, Piano (duo)
25
Saxophone Alto et Piano
19
Flûte traversière et Piano
18
2 Saxophones (duo)
18
Clarinette et Piano
17
Quatuor de Saxophones: 4 saxophones
16
Saxophone (partie séparée)
13
Saxophone Alto
12
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
12
2 Flûtes traversières (duo)
10
Flûte, Hautbois, Clarinette, Basson
10
Hautbois (partie séparée)
10
Flûte traversière
9
Saxophone Tenor
8
Clarinette
8
Quatuor de Clarinettes: 4 clarinettes
7
Flûte à bec Soprano
7
Saxophone Tenor et Piano
6
Saxophone Soprano et Piano
6
Ensemble de saxophones
5
Flûte, Clarinette (duo)
5
Quintette de Clarinettes: 5 clarinettes
5
Quatuor de Flûtes : 4 flûtes
5
Saxophone Baryton, Piano
4
Clarinette, Trompette (duo)
4
Cor Anglais
4
Saxophone, Clarinette (duo)
4
Clarinette, Violon (duo)
4
3 Clarinettes (trio)
4
2 Clarinettes (duo)
4
Clarinette, Trombone (duo)
3
Clarinette (partie séparée)
3
Flûte, Alto (duo)
3
Flûte à bec Soprano, Piano
2
Quintette de Flûte : 5 flûtes
2
Flûte, Trompette (duo)
2
Flûte, Saxophone (duo)
2
Clarinette et Alto
2
Hautbois, Flûte
2
Flûte et Guitare
2
Clarinette, Basson (duo)
2
Trio de Flûtes: 3 flûtes
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Flûte, Violon
2
Quintette de Saxophone: 5 saxophones
2
2 Hautbois (duo)
2
Flûte à bec Tenor
2
Flûte, Clarinette et Basson
2
Hautbois, Basson (duo)
2
Flûte à bec Alto
2
Ocarina
2
Ensemble De Flûte à bec
1
Flûte, Violon, Piano
1
Quatuor de Flûtes à bec
1
2 Saxophones, Piano
1
2 Flûtes traversières, Piano
1
Flute (partie séparée)
1
2 Cors Anglais Et Pianoforte
1
Clarinette, Guitare (duo)
1
Saxophone
1
Clarinette, Violoncelle (duo)
1
2 Flûte à bec (duo)
1
Flûte, Violoncelle
1
Ensemble de Flûtes
1
Clarinette Basse, Piano
1
Flûte, Hautbois, Clarinette (trio)
1
3 Saxophones (trio)
1
Ensemble de Clarinettes
1
Cor anglais, Piano
1
+ 64 instrumentations
Retracter
Cuivres
Trompette, Piano
15
Trombone et Piano
15
Cor et Piano
14
Trompette
12
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Trombone
10
Tuba et Piano
10
Trompette, Saxophone (duo)
6
Tuba
4
Cor Anglais
4
Trompette (partie séparée)
4
Quatuor de Cuivres
4
Trompette, Trombone (duo)
3
2 Trombones (duo)
2
Euphonium
2
Quatuor de cuivres: 4 trombones
2
Trombone (partie séparée)
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Euphonium, Piano (duo)
1
2 Trompettes (duo)
1
2 Cors Anglais Et Pianoforte
1
Cor (partie séparée)
1
3 Trombones (trio)
1
Tuba (partie séparée)
1
Cor anglais, Piano
1
2 Euphoniums et 2 Tubas
1
+ 22 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
100
Violon et Piano
23
Violon, Violoncelle (duo)
23
Violon
20
Violoncelle
18
Violoncelle, Piano
16
Harpe
14
Trio à Cordes: 2 violons, violoncelle
14
Alto, Piano
11
Contrebasse, Piano (duo)
10
Trio à Cordes: violon, alto, violoncelle
10
2 Violoncelles (duo)
9
Violon (partie séparée)
8
Alto seul
7
Alto (partie séparée)
6
Violon, Alto (duo)
6
Violon, Guitare (duo)
4
Contre Basse
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
2 Violons (duo)
4
Violoncelle , Guitare (duo)
3
Contrebasse (partie séparée)
3
Harpe, Voix
2
Trio à Cordes: 3 violoncelles
2
Violoncelle (partie séparée)
2
2 Altos (duo)
2
Harpe, Violon, Violoncelle
1
Harpe, Flûte (duo)
1
Alto, Violoncelle (duo)
1
Alto et Basson
1
+ 25 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
95
Ensemble Jazz
29
Orchestre
25
Orchestre à Cordes
23
Ensemble de cuivres
19
Orchestre de chambre
8
Cloches
6
Percussion (partie séparée)
2
Ensemble de Percussions
2
Fanfare
2
Batterie
1
Xylophone, Piano
1
Marimba
1
Jazz combo
1
+ 9 instrumentations
Retracter
Autres
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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--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 -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
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
THANKSGIVING
Vendeurs (tous)
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Vous avez sélectionné:
LOVE IS REAL
SheetMusicPlus
Partitions à imprimer
8 partitions trouvées
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1
All You Need Is Love
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Rock
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The Beatles
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Bernard Kane
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All You Need Is Love
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Bernard Kane Jr Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1400948 By The Beatles. By John Lennon and Paul McCartney. Arranged by Bernard Kane. Chamber,Film/TV,Pop. 66 pages...
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Chamber Orchestra - Level 4 - SKU: A0.1400948 By The Beatles. By John Lennon and Paul McCartney. Arranged by Bernard Kane. Chamber,Film/TV,Pop. 66 pages. Bernard Kane Jr Music #984142. Published by Bernard Kane Jr Music (A0.1400948). Released in 1967, this glorious Beatles classic - which opens with the first phrase of the French National Anthem La Marseillaise - epitomised the Summer of Love - It topped both the UK and US charts in that year. In the realm of film, it was most memorably used in the 2003 Richard Curtis Christmas film, Love Actually.
$100.00
Syzygy | Ethereal Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE
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Fiona Cork
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N/A
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Syzygy | Ethereal Chamber Orch
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Fiona Cork
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1133304 By Fiona Cork. By Fiona Cork. Arranged by N/A. Baroque,Chamber,Classical,Contemporary,Multicultural,World....
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Chamber Orchestra - Level 3 - SKU: A0.1133304 By Fiona Cork. By Fiona Cork. Arranged by N/A. Baroque,Chamber,Classical,Contemporary,Multicultural,World. Score and Parts. 22 pages. Fiona Cork #733457. Published by Fiona Cork (A0.1133304). Syzygy is an amalgam of four movements, all very different in feel, yet blended smoothly to paint a picture of the divine cosmos. With pronounced usage of the pentatonic scale, Syzygy invokes my personal love of Chinese orchestra (as well as some genre fusion to spice up the general aesthetic). I was sixteen when I wrote this, my first large-scale piece, and therefore was very fond of it; but I never got so big for my britches that I didn't ask for help. After the four-ish months I spent writing this, I revised it with several local music directors and composers, as well as personal friends who played specific instruments used in the score. _____________________________ syz·y·gy /ˈsizijē/ noun ASTRONOMY a conjunction or opposition, especially of the moon with the sun. the planets were aligned in syzygy a pair of connected or corresponding things. animus and anima represent a supreme pair of opposites, the syzygy.
$3.00
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.
$25.95
Three Laments of Heloise for Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Dosia McKay
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Three Laments of Heloise for C
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Gavia Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #572...
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Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00
Honrpipe (From 'Water Music Suite No. 1' in F, HWV 348)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Georg Friedrich HÄNDEL Â
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Flavio Regis Cunha
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Honrpipe
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.597305 Composed by Georg Friedrich HÄNDEL  . Arranged by Flavio Regis Cunha. Baroque,Concert,Holiday,Weddin...
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Chamber Orchestra - Level 4 - SKU: A0.597305 Composed by Georg Friedrich HÄNDEL  . Arranged by Flavio Regis Cunha. Baroque,Concert,Holiday,Wedding. Score and parts. 29 pages. Flavio Regis Cunha #5304533. Published by Flavio Regis Cunha (A0.597305). This beautiful edition of Handel's well-known worldwide 'Hornpipe' was based on the Halle Handel Edition. In this edition you will find optional parts for two flutes and timpani. The continuo was realized and can be replaced by the organ as optional. This 'Hornpipe' from Handel's Water Music (HWV 349) transcription is also a combination of the Halle Handel Edition and the recording performed by the FestspielOrchester Göttingen with Laurence Cummings as director (https://www.youtube.com/watch?v=1h4mAceHmrI).This score is an excellent purchase for your group, or archive. You and your ensemble will love playing along with the eardrums. Your audience will be enchanted by the vibrant power of this piece.
$9.99
When I Survey the Wondrous Cross - Orchestration
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Orchestre de chambre
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INTERMÉDIAIRE
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Isaac Watts / Lowell Mason
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Robert Myers
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When I Survey the Wondrous Cro
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WheatMyer Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and ...
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Chamber Orchestra - Level 3 - SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and parts. 49 pages. WheatMyer Music #4775721. Published by WheatMyer Music (A0.976713). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Mason’s 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses' anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly – they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Mason’s harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The instrumental accompaniments are straightforward yet very colorful, suitable for high school or higher level players. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet it does not compromise on artistic expression.This is the orchestral accompaniment for the choral octavo version sold separately. This version includes full score and all instrumental parts.
$60.00
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Sér&eac
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
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.
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