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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
Let It Begin
Non classifié
954
Piano & claviers
Piano Facile
832
Piano seul
227
Piano, Voix
201
Piano grosses notes
114
Piano, Voix et Guitare
31
2 Pianos, 4 mains
27
Instruments en Do
21
Orgue
17
1 Piano, 4 mains
12
Piano Trio: piano, violon, violoncelle
9
Accordéon
7
Piano Quatuor: piano, violon, alto, violoncelle
2
Accompagnement Piano
1
Ensemble d'Accordéons
1
Accordéon, Voix
1
Piano (partie séparée)
1
2 Pianos, 8 mains
1
+ 12 instrumentations
Retracter
Guitares
Guitare notes et tablatures
49
Guitare
47
Ukulele
10
Basse electrique
6
2 Guitares (duo)
5
Ligne De Mélodie, (Paroles) et Accords
3
Mandoline
2
Dulcimer
2
Guitare (partie séparée)
2
4 Guitares (Quatuor)
2
Dobro
1
2 Dulcimers (duo)
1
3 Guitares (trio)
1
Piano, Guitare (duo)
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
71
Chorale 2 parties
41
Chorale 3 parties
21
Voix Baryton, Piano
19
Chorale SSAA
9
Chorale TTBB
6
Voix Soprano, Piano
5
Voix Tenor, Piano
4
Pack Instrumental pour Chorale
2
Chorale Unison
2
Voix seule
2
Voix duo, Piano
2
Voix Alto, Piano
2
Voix basse, Piano
1
+ 9 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
111
Quintette de Saxophone: 5 saxophones
99
Quatuor de Saxophones: 4 saxophones
89
Flûte, Hautbois, Clarinette, Basson
67
Flûte traversière et Piano
45
Clarinette et Piano
44
Hautbois, Piano (duo)
37
Saxophone Alto et Piano
32
Saxophone Tenor et Piano
30
Saxophone Soprano et Piano
30
Flûte traversière
27
Clarinette
27
Saxophone Alto
26
Saxophone (partie séparée)
19
Saxophone Tenor
18
Saxophone Baryton, Piano
16
Quatuor de Clarinettes: 4 clarinettes
16
2 Saxophones (duo)
16
3 Saxophones (trio)
16
2 Flûtes traversières (duo)
13
2 Clarinettes (duo)
12
Quatuor de Flûtes : 4 flûtes
11
Flûte, Trombone (duo)
10
Cor anglais, Piano
10
Ensemble de saxophones
9
Ensemble de Clarinettes
9
Hautbois (partie séparée)
9
Harmonica
9
Flûte, Clarinette (duo)
9
Flûte à bec Soprano
8
Flûte, Clarinette, Cor, Basson (Quartet)
8
Quintette de Flûte : 5 flûtes
8
Saxophone Soprano
7
Hautbois
7
Clarinette Basse, Piano
7
5 Flûtes à bec
6
Quatuor de Flûtes à bec
6
2 Hautbois (duo)
6
3 Clarinettes (trio)
6
Ensemble de Flûtes
5
2 Flûte à bec (duo)
5
Cor Anglais
4
Quintette de Clarinettes: 5 clarinettes
4
Flûte, Hautbois, Clarinette (trio)
3
Saxophone Baryton
3
Clarinette, Basson (duo)
3
Saxophone
3
Trio de Flûtes: 3 flûtes
3
Flûte à Bec
2
Hautbois, Violoncelle
2
Hautbois, Basson (duo)
2
Hautbois, Clarinette (duo)
2
Flûte à bec Tenor
2
Hautbois, Flûte
2
Flûte, Hautbois, Piano (trio)
2
2 Flûtes traversières, Piano
2
3 Flûtes à bec (trio)
2
Flûte, Clarinette et Basson
2
Clarinette, Violoncelle (duo)
2
Clarinette Basse
2
3 Hautbois
1
Flûte, Violoncelle
1
4 Hautbois
1
Ensemble de Hautbois
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Clarinette, Harpe (duo)
1
Flûte irlandaise
1
Flute, harpe et violon
1
Flûte, Hautbois, Basson
1
+ 64 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
99
Quatuor de Cuivres
65
Quatuor de Cuivres : 2 trompettes, trombone, tuba
34
Trompette
34
Cor et Piano
32
Trombone et Piano
31
Trompette, Piano
29
Trombone
23
Cor
21
Quatuor de Cuivres: 2 trompettes, Cor, trombone
19
Tuba
14
Quatuor de cuivres: 4 trombones
12
Euphonium, Piano (duo)
12
Cor anglais, Piano
10
2 Trompettes (duo)
9
Ensemble de Trombones
8
Trompette (partie séparée)
8
Ensemble de Trompettes
7
Tuba et Piano
7
2 Trombones (duo)
6
Trombone (partie séparée)
6
2 Euphoniums et 2 Tubas
6
2 Cors (duo)
5
Trompette, Trombone (duo)
5
Ensemble de Cors
4
Cor Anglais
4
Trompette, Basson (duo)
4
Quatuor de cuivres: 4 trompettes
2
Euphonium
2
Trompette, Cor (duo)
2
2 Tubas (duo)
2
4 Tubas
2
Quatuor de cuivres: 4 cors
1
Cor (partie séparée)
1
Tuba et Orgue
1
Trombone, Cor (duo)
1
3 Trompettes (trio)
1
3 Tubas (trio)
1
3 Trombones (trio)
1
3 Cors (trio)
1
Trio de Cuivres
1
Trompette, Violoncelle (duo)
1
+ 37 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
137
Quintette à cordes: 2 violons, alto, violoncelle, basse
65
Violoncelle, Piano
54
Violon et Piano
52
Harpe
38
Alto, Piano
34
Violon
29
Violoncelle
23
Alto seul
18
Violon, Violoncelle (duo)
15
Trio à Cordes: violon, alto, violoncelle
14
2 Violoncelles (duo)
14
Contre Basse
10
Violon, Alto (duo)
8
2 Violons (duo)
6
2 Altos (duo)
5
Alto, Violoncelle (duo)
5
4 Violoncelles
4
Contrebasse, Piano (duo)
4
Ensemble de Violons
4
Trio à cordes: 3 violins
4
Alto (partie séparée)
4
Trio à Cordes: 3 violoncelles
3
Quatuor à cordes: 4 violons
3
Trio à Cordes: 2 violons, violoncelle
3
3 Harpes
2
Violoncelle, Contrebasse (duo)
2
Contrebasse (partie séparée)
2
5 Harpes
2
Ensemble d'Altos
2
Quatuor à cordes : 4 altos
2
Trio à cordes: 3 altos
2
Harpe, Flûte (duo)
1
Harpe, Voix
1
Piano Trio: Violon, Alto, Piano
1
Violon, Guitare (duo)
1
Harpe, Violon (duo)
1
Harpe, Violoncelle (duo)
1
4 Contrebasses
1
Violon, Basson (duo)
1
Trio à Cordes: 2 violons, alto
1
+ 36 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
105
Orchestre
35
Orchestre à Cordes
34
Cloches
28
Ensemble de cuivres
23
Orchestre de chambre
14
Ensemble Jazz
13
Ensemble de Percussions
11
Batterie
9
Fanfare
5
Xylophone
5
Marimba
4
Xylophone, Piano
2
Quintette de Cuivres: autres combinaisons
1
Percussion (partie séparée)
1
Batterie (partie séparée)
1
Piano et Orchestre
1
Orchestre, Violon
1
Vibraphone
1
+ 14 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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← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
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TROMPETTE
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VIOLONCELLE
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ENFANTS : EVEIL - IN…
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FUNK
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
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LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
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METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
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OLD TIME - EARLY ROC…
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POP ROCK - ROCK CLAS…
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Crtitères actifs :
Let It Begin
Orchestre de chambre
Partitions à imprimer
14 partitions trouvées
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1
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
Legacy for Chamber Orchestra
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Orchestre de chambre
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AVANCÉ
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Sy Brandon
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Legacy for Chamber Orchestra
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Sy Brandon
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Bra...
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Chamber Orchestra - Level 5 - SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Brandon (A0.1453498). Legacy is a three-movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission in 2007 by the Washington Sinfonietta, Rufus Jones, conductor and rewritten for chamber orchestra in 2023. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate isquieted by a measure of repeated chords that could be the words, stop it! stop it now!” A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries brings the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressing the harshness of the climate. Colleen McCullough's book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato creating a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Score prints on legal size paper and parts on letter.
$40.00
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Orchestre de chambre
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AVANCÉ
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3...
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Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95
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
Arizona Centennial Overture - Chamber Orchestra Version
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Sy Brandon
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Arizona Centennial Overture -
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Sy Brandon
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.755102 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 107 pages. Sy Brandon #3384583. Pu...
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Chamber Orchestra - Level 4 - SKU: A0.755102 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 107 pages. Sy Brandon #3384583. Published by Sy Brandon (A0.755102). Arizona Centennial Overture was commissioned by the Arizona Commission on the Arts as part of the Centennial Legacy Project to help celebrate Arizona’s centennial. There are three versions of the compositions, chamber orchestra, full orchestra, and band. The overture pays tribute to the unique blend of the various cultures that had a part in shaping Arizona into what it is today. This six and a half minute composition is divided into three main sections. The first section begins with fanfares that announce the celebration. After thirty seconds, the introduction fades into music that pays tribute to the pioneers that migrated to Arizona. The music has a rustic quality reflecting the pioneering spirit of the ranchers, farmers, miners, and merchants who came to Arizona seeking a better way of life. This section is intended to be inclusive as it is impossible to represent each culture individually in a short musical composition. The second section pays tribute to the various Native American cultures that are a large part of Arizona’s history and its present way of life. Flutes and percussion instruments are used in the beginning of this section to represent the Native American respect for nature. This quiet section evolves into a ceremonial dance that increases in intensity. Towards the end of this section one hears fragments of the pioneer melody as these culture come together. The third section is influenced by Mariachi music to recognize the Hispanic influence in Arizona. The first part uses an original rollicking tune with four beats to the measure over syncopation. The second part contains a lyrical melody with three beats to the measure accompanied by instruments playing accents that create the Hispanic sounding grouping of six notes into three groups of two alternating with two groups of three. A brief ending using the fanfares of celebration interspersed with figures from the Native American and pioneer sections brings the work to a rousing close. The score prints on legal size paper and the parts on letter.
$39.99
Orchestraining No. 4 [Orchestra]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan Maria Solare
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Juan Maria Solare
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Orchestraining No. 4 [Orchestr
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1432026 By Juan Maria Solare. By Juan Maria Solare. Arranged by Juan Maria Solare. 20th Century,Classical,Contempo...
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Chamber Orchestra - Level 3 - SKU: A0.1432026 By Juan Maria Solare. By Juan Maria Solare. Arranged by Juan Maria Solare. 20th Century,Classical,Contemporary,Historic,Instructional. 15 pages. Juan Maria Solare #1012506. Published by Juan Maria Solare (A0.1432026). Orchestraining is a cycle of orchestral studies, each focusing on different aspects of performance. These studies are specifically designed for non-professional orchestras, although any orchestra will improve by playing some of these pieces during rehearsals. It is always necessary to pay attention to intonation and many other aspects of orchestral performance.In addition, these studies are also useful for orchestral conducting students. For example, it is essential to know how to conduct a simultaneous attack of a chord that does not begin on the first beat, but a eighth note after the third beat.I began writing these studies around 2013, when I took over the direction of the Bremer Orchestergemeinschaft and noticed the complete absence of repertoire of this kind. As a pianist, I am accustomed to studies by Carl Czerny or playing scales. Each individual instrumentalist knows studies of technique for their instrument. However, there are no, or at least I am not aware of, similar studies for orchestral performance technique and the specific difficulties of ensemble playing that it requires. The cycle Orchestraining aims to fill this gap.The fourth etude focuses on dynamics: crescendi and diminuendi, exploring the extremes forte vs piano and gradually changing from one to the other one.
$5.00
Orchestraining No. 2 [Orchestra]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan Maria Solare
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Orchestraining No. 2 [Orchestr
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1432016 By Juan Maria Solare. By Juan Maria Solare. 20th Century,Classical,Contemporary,Historic,Instructional. 18...
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Chamber Orchestra - Level 3 - SKU: A0.1432016 By Juan Maria Solare. By Juan Maria Solare. 20th Century,Classical,Contemporary,Historic,Instructional. 18 pages. Juan Maria Solare #1012496. Published by Juan Maria Solare (A0.1432016). Orchestraining is a cycle of orchestral studies, each focusing on different aspects of performance. These studies are specifically designed for non-professional orchestras, although any orchestra will improve by playing some of these pieces during rehearsals. It is always necessary to pay attention to intonation and many other aspects of orchestral performance.In addition, these studies are also useful for orchestral conducting students. For example, it is essential to know how to conduct a simultaneous attack of a chord that does not begin on the first beat, but a eighth note after the third beat.I began writing these studies around 2013, when I took over the direction of the Bremer Orchestergemeinschaft and noticed the complete absence of repertoire of this kind. As a pianist, I am accustomed to studies by Carl Czerny or playing scales. Each individual instrumentalist knows studies of technique for their instrument. However, there are no, or at least I am not aware of, similar studies for orchestral performance technique and the specific difficulties of ensemble playing that it requires. The cycle Orchestraining aims to fill this gap.This second orchestral etude focus on tuning / intonation.
$5.00
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
Come, Thou Fount Of Every Blessing
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Orchestre de chambre
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FACILE
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Musique Sacrée
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Nettleton by John Wyeth
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Gert Th
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Come, Thou Fount Of Every Bles
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Gert Th. Walter
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.682631 Composed by Nettleton by John Wyeth. Arranged by Gert Th. Walter. Christian,Praise & Worship,Sacred. Score ...
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Chamber Orchestra - Level 2 - SKU: A0.682631 Composed by Nettleton by John Wyeth. Arranged by Gert Th. Walter. Christian,Praise & Worship,Sacred. Score and parts. 3 pages. Gert Th. Walter #5828801. Published by Gert Th. Walter (A0.682631). Very easy arrangement, but not only for pupil and beginners. It works for any church services, and it is especially appropriate for schools and students. © 2020 MusikVerlag Gert Walter, Germany. All Rights Reserved. https://www.musikverlaggertwalter.de
$8.95
Come, Thou Fount Of Every Blessing
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Orchestre de chambre
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FACILE
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Musique Sacrée
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Nettleton by John Wyeth
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Gert Th
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Come, Thou Fount Of Every Bles
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Gert Th. Walter
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.682639 Composed by Nettleton by John Wyeth. Arranged by Gert Th. Walter. Christian,Praise & Worship,Sacred. Score ...
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Chamber Orchestra - Level 2 - SKU: A0.682639 Composed by Nettleton by John Wyeth. Arranged by Gert Th. Walter. Christian,Praise & Worship,Sacred. Score and parts. 3 pages. Gert Th. Walter #5854227. Published by Gert Th. Walter (A0.682639). Very easy arrangement, but not only for pupil and beginners. It works for any church services, and it is especially appropriate for schools and students. © 2020 MusikVerlag Gert Walter, Germany. All Rights Reserved. https://www.musikverlaggertwalter.de
$7.99
Come, Thou Fount Of Every Blessing
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Orchestre de chambre
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FACILE
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Musique Sacrée
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Nettleton by John Wyeth
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Gert Th
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Come, Thou Fount Of Every Bles
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Gert Th. Walter
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.682636 Composed by Nettleton by John Wyeth. Arranged by Gert Th. Walter. Christian,Praise & Worship,Sacred. Score ...
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Chamber Orchestra - Level 2 - SKU: A0.682636 Composed by Nettleton by John Wyeth. Arranged by Gert Th. Walter. Christian,Praise & Worship,Sacred. Score and parts. 3 pages. Gert Th. Walter #5854219. Published by Gert Th. Walter (A0.682636). Very easy arrangement, but not only for pupil and beginners. It works for any church services, and it is especially appropriate for schools and students. © 2020 MusikVerlag Gert Walter, Germany. All Rights Reserved. https://www.musikverlaggertwalter.de
$6.99
Come, Thou Fount Of Every Blessing
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Orchestre de chambre
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FACILE
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Musique Sacrée
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Nettleton by John Wyeth
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Gert Th
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Come, Thou Fount Of Every Bles
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Gert Th. Walter
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.682637 Composed by Nettleton by John Wyeth. Arranged by Gert Th. Walter. Christian,Praise & Worship,Sacred. Score ...
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Chamber Orchestra - Level 2 - SKU: A0.682637 Composed by Nettleton by John Wyeth. Arranged by Gert Th. Walter. Christian,Praise & Worship,Sacred. Score and parts. 3 pages. Gert Th. Walter #5854221. Published by Gert Th. Walter (A0.682637). Very easy arrangement, but not only for pupil and beginners. It works for any church services, and it is especially appropriate for schools and students. © 2020 MusikVerlag Gert Walter, Germany. All Rights Reserved. https://www.musikverlaggertwalter.de
$6.99
Come, Thou Fount Of Every Blessing
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Orchestre de chambre
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FACILE
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Musique Sacrée
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Nettleton by John Wyeth
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Gert Th
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Come, Thou Fount Of Every Bles
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Gert Th. Walter
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.682640 Composed by Nettleton by John Wyeth. Arranged by Gert Th. Walter. Christian,Praise & Worship,Sacred. Score ...
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Chamber Orchestra - Level 2 - SKU: A0.682640 Composed by Nettleton by John Wyeth. Arranged by Gert Th. Walter. Christian,Praise & Worship,Sacred. Score and parts. 3 pages. Gert Th. Walter #5854229. Published by Gert Th. Walter (A0.682640). Very easy arrangement, but not only for pupil and beginners. It works for any church services, and it is especially appropriate for schools and students. © 2020 MusikVerlag Gert Walter, Germany. All Rights Reserved. https://www.musikverlaggertwalter.de
$7.99
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Let It Begin
