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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
Man From The Past
Non classifié
254
Piano & claviers
Piano seul
78
Piano, Voix
76
Orgue
31
Piano, Voix et Guitare
11
Piano Facile
9
Instruments en Do
4
2 Pianos, 4 mains
4
1 Piano, 4 mains
2
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano Trio: piano, violon, violoncelle
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Orgue, Piano (duo)
1
Clavecin
1
+ 8 instrumentations
Retracter
Guitares
Guitare
5
Guitare notes et tablatures
5
Basse electrique
2
Mandoline
1
Ukulele
1
4 Guitares (Quatuor)
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
63
Chorale 3 parties
6
Chorale Unison
4
Voix Soprano, Piano
3
Voix Baryton, Piano
2
Chorale SSAA
2
Voix Alto, Piano
2
Voix duo, Piano
2
Voix haute
2
Chorale 2 parties
2
Chorale TTBB
1
Voix Tenor, Piano
1
Voix duo
1
+ 8 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
29
2 Flûtes traversières (duo)
17
Flûte, Hautbois, Clarinette, Basson
16
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
14
Hautbois (partie séparée)
12
Flûte traversière et Piano
11
Clarinette
10
Saxophone Alto et Piano
9
Quatuor de Clarinettes: 4 clarinettes
7
2 Saxophones (duo)
7
Ensemble de saxophones
7
Hautbois, Piano (duo)
6
Clarinette et Piano
6
Saxophone Tenor et Piano
4
Ensemble de Flûtes
4
Quintette de Saxophone: 5 saxophones
4
Saxophone Alto
3
Quatuor de Flûtes : 4 flûtes
3
Ensemble de Clarinettes
2
2 Clarinettes (duo)
2
Flûte, Clarinette, Piano (trio)
2
Quintette de Clarinettes: 5 clarinettes
2
Saxophone Baryton, Piano
2
Quintette de Flûte : 5 flûtes
2
2 Hautbois (duo)
2
Flûte, Hautbois (duo)
2
3 Clarinettes (trio)
2
Flûte traversière
2
Hautbois, Basson (duo)
1
Flute (partie séparée)
1
Trio de Flûtes: 3 flûtes
1
Clarinette, Violoncelle, Piano (trio)
1
Hautbois, Clarinette et Piano (Trio)
1
Clarinette, Alto et Piano (trio)
1
Saxophone Tenor
1
2 Clarinettes, Piano
1
Quatuor de Flûtes à bec
1
Saxophone Soprano et Piano
1
Clarinette, Basson (duo)
1
Flûte et Guitare
1
Clarinette Basse, Piano
1
+ 36 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
35
Ensemble de Trompettes
33
Quatuor de Cuivres : 2 trompettes, trombone, tuba
18
Trompette, Piano
8
Quatuor de Cuivres
7
Cor et Piano
4
Trompette
4
Ensemble de Trombones
3
Tuba et Piano
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Trombone et Piano
3
3 Trompettes (trio)
2
Cor
2
Trompette (partie séparée)
2
2 Cors (duo)
2
2 Trombones (duo)
2
Quatuor de cuivres: 4 trompettes
2
Euphonium, Piano (duo)
1
Quatuor de cuivres: 4 trombones
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone
1
2 Tubas (duo)
1
+ 17 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
38
Violon
11
Violon et Piano
11
2 Violons (duo)
8
Violon, Violoncelle (duo)
6
2 Violoncelles (duo)
5
Alto, Piano
5
Violoncelle, Piano
5
2 Altos (duo)
3
Harpe
3
Trio à Cordes: violon, alto, violoncelle
3
Violoncelle
2
Alto (partie séparée)
2
Trio à Cordes: 2 violons, violoncelle
2
Contre Basse
2
Autoharp
1
Ensemble d'Altos
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Contrebasse, Piano (duo)
1
Harpe, Voix
1
Alto, Violoncelle (duo)
1
Alto seul
1
Piano Trio: Violon, Alto, Piano
1
Ensemble de Violons
1
+ 19 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
16
Orchestre
16
Orchestre à Cordes
10
Ensemble de cuivres
5
Orchestre de chambre
5
Ensemble Jazz
2
Cloches
2
Marimba
1
Jazz combo
1
Vibraphone
1
+ 5 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
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FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
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Vous avez sélectionné:
Man From The Past
Orchestre de chambre
Partitions à imprimer
5 partitions trouvées
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1
A Dream from the Past
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Arianna Cunningham
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A Dream from the Past
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Arianna Cunningham
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1164132 Composed by Arianna Cunningham. Classical,Romantic Period. 55 pages. Arianna Cunningham #764482. Published...
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Chamber Orchestra - Level 3 - SKU: A0.1164132 Composed by Arianna Cunningham. Classical,Romantic Period. 55 pages. Arianna Cunningham #764482. Published by Arianna Cunningham (A0.1164132). A couple or a few years ago during the Pandemic, there was a Discord Server vs Server Competition going on, and one of the online virtual group communities out of all the other servers took part in a theme called Dreams. When the event started, I immediately started composing this beautiful composition, and chose the instrumentation for Uncommon Woodwinds (Alto Flute, English Horn, and Sopranino Sax), Strings, Harp, and Crotales. However, my submission entry didn't make it to the final Dreams EP as expected. But the admins of the online orchestra group told me that I can still host it as a community project, and it just so happens that I actually did do that, and I've gotten a good amount of submissions from the members themselves, went through all the mixing and editing, etc, before releasing the final performance.This piece is meant to be described about dreaming to a wonderful place you might've remembered, and haven't forgotten in a long time, experiencing the deja vu moments of what you think might've happened long time ago, hence the title, of course.
$25.00
A Shropshire Pastoral for Oboe and String Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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Douglas Brooks-Davies
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A Shropshire Pastoral for Oboe
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Douglas Brooks-Davies
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.898092 Composed by Douglas Brooks-Davies. Contemporary. Score and parts. 21 pages. Douglas Brooks-Davies #3417333....
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Chamber Orchestra - Level 3 - SKU: A0.898092 Composed by Douglas Brooks-Davies. Contemporary. Score and parts. 21 pages. Douglas Brooks-Davies #3417333. Published by Douglas Brooks-Davies (A0.898092). A nostalgic movement, exploiting the pastoral associations of the oboe and inspired by the sense of loss that informs A.E.Housman's Shropshire Lad. As a century and more separates us from the devastating conflict of World War One, the work implicitly evokes those themes of Housman's poems that led The Shropshire Lad to become so popular after 1914.
$3.99
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
Three Australian Folk Songs
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Traditonal
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Roman Benedict
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Waltzing Matilda
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Three Australian Folk Songs
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Roman Benedict
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.766729 Composed by Traditonal. Arranged by Roman Benedict. 20th Century,Contemporary,Folk,Patriotic. Score and par...
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Chamber Orchestra - Level 4 - SKU: A0.766729 Composed by Traditonal. Arranged by Roman Benedict. 20th Century,Contemporary,Folk,Patriotic. Score and parts. 70 pages. Roman Benedict #5178667. Published by Roman Benedict (A0.766729). This medley of three popular traditional Australian songs is her presented in a lively and colourful arrangement for chamber orchestra. This arrangement works well as an encore or as part of a concert programme (duration: approx. 5'), and is a collection of three popular Australian folk songs: Botany Bay, Click Go The Shears & Waltzing Matilda. These were selected to cover three eras of Australian colonial history: a song from Australia's convict past, one from the development of the pastoral nation, and finishing with the stories of the bush-ranger history. Drawing on musical styles as diverse as folk song, Aaron Copland, and European ballroom dance music it is a fun and entertaining addition to any concert programme.
$70.00
Triskel (Orff Instruments & Chamber Orchestra) - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Rudesindo Soutelo
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Triskel
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Publisher by Rudesindo Soutelo
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1230983 Composed by Rudesindo Soutelo. Arranged by Orff Instruments & Chamber Orchestra (C Score). 21st Century,Ce...
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Chamber Orchestra - Level 3 - SKU: A0.1230983 Composed by Rudesindo Soutelo. Arranged by Orff Instruments & Chamber Orchestra (C Score). 21st Century,Celtic,Chamber,Children,Classical,Irish. 47 pages. Publisher by Rudesindo Soutelo #826603. Published by Publisher by Rudesindo Soutelo (A0.1230983). Ao Grupo Instrumental da EB de V.P. de Âncora e à Orquestra ARTEAMRudesindo Soutelo:Triskel (2023) for Orff Instruments and Chamber Orchestra [ca. 7'42]O eixo do mundo / The axis of the worldPremière: 16-V-2023. Teatro dos Bombeiros de Vila Praia de Âncora (Portugal). Int.: Grupo Instrumental Orff da EB de V.P. de Âncora (Prof. Manuela Moura) e Orquestra ARTEAM de Viana do Castelo. Dir.: Diogo Costa.ISWC: T-315.743.482-3ISMN: 979-0-707704-10-3Páginas de amostra / Sample pages: https://www.researchgate.net/publication/370676001=oOo=The Triskel is present in many ancient cultures but it is in the Celtic culture where it has acquired a greater prominence. It represents the power of the Sun, the axis of the world, the original matrix. It is an allegory of the number 3; of the past, present and future; of the Christian Trinity. It evokes the differences in the unity of the great whole, the Universe.The work was originally composed to integrate an Instrumental Group Orff (Glockenspiel Soprano and Alto, Metallophones and Xylophones Soprano, Alto and Bass), from the General Elementary School, as soloists in a Chamber Orchestra. The organising complex of the work is [4 (2, 2), 3 (2, 1)].There is, also, an edition for Marimba and Chamber Orchestra.=oOo=O Triskel está presente em muitas culturas antigas, mas é na cultura celta onde adquiriu um maior relevo. Representa o poder do Sol, o eixo do mundo, a matriz original. É uma alegoria do número 3; do passado, presente e futuro; da Trindade cristã. Evoca as diferenças na unidade do grande todo, o Universo.A obra foi composta originalmente para integrar um Grupo Instrumental Orff (Glockenspiel Soprano e Alto, Metalofones e Xilofones Soprano, Alto e Baixo), do Ensino Básico geral, como solistas de uma Orquestra de Câmara. O complexo organizador da obra é [4 (2, 2), 3 (2, 1)].Existe, ainda, uma edição para Marimba e Orquestra de Câmara.
$10.00
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Man From The Past
