Page d'accueil
Parcourir Free-scores.com
--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
No More Night
Non classifié
79
Piano & claviers
Piano seul
53
Piano, Voix
47
Piano, Voix et Guitare
12
Piano Facile
10
Piano Trio: piano, violon, violoncelle
4
Piano Quatuor: piano, violon, alto, violoncelle
2
Orgue
2
1 Piano, 4 mains
1
Instruments en Do
1
+ 4 instrumentations
Retracter
Guitares
Guitare notes et tablatures
9
Guitare
3
Basse electrique
1
Voix
Chorale SATB
12
Chorale 2 parties
10
Voix duo
5
Voix duo, Piano
3
Chorale SSAA
1
Chorale Unison
1
Voix Alto, Piano
1
Voix haute
1
Voix moyenne, Piano
1
+ 4 instrumentations
Retracter
Vents
2 Saxophones (duo)
11
Saxophone, Clarinette (duo)
6
Flûte traversière et Piano
5
Hautbois, Piano (duo)
5
2 Flûtes traversières (duo)
5
Clarinette, Violon (duo)
4
Clarinette, Trompette (duo)
4
Saxophone Alto et Piano
4
Saxophone Soprano et Piano
4
Quatuor de Clarinettes: 4 clarinettes
3
Flûte, Hautbois, Clarinette, Basson
3
Flûte, Clarinette (duo)
3
Saxophone Tenor et Piano
3
Clarinette et Piano
3
Clarinette et Alto
2
Hautbois, Clarinette (duo)
2
Flûte, Violon
2
3 Hautbois
2
Quatuor de Saxophones: 4 saxophones
2
Flûte, Saxophone (duo)
2
Flûte, Alto (duo)
2
Quatuor de Flûtes : 4 flûtes
2
Hautbois, Basson (duo)
2
Flûte, Trompette (duo)
2
2 Hautbois (duo)
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
Hautbois, Flûte
2
Quintette de Saxophone: 5 saxophones
1
Saxophone Tenor
1
Ensemble de Clarinettes
1
3 Clarinettes (trio)
1
Hautbois (partie séparée)
1
Clarinette Basse, Piano
1
Trio de Flûtes: 3 flûtes
1
Saxophone Baryton, Piano
1
Saxophone Alto
1
Clarinette
1
Ensemble de Flûtes
1
+ 33 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
7
Trombone et Piano
5
Trompette, Saxophone (duo)
4
Cor et Piano
3
Trompette, Trombone (duo)
2
Trompette, Piano
2
Trompette
2
2 Trombones (duo)
2
2 Tubas (duo)
1
Quatuor de cuivres: 4 trombones
1
Euphonium, Piano (duo)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
2 Trompettes, Clavier (piano ou orgue)
1
Euphonium, Tuba (duo)
1
Trompette, Cor (duo)
1
+ 10 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
13
Violon et Piano
7
Harpe
5
Violoncelle
4
Alto, Piano
4
2 Violoncelles (duo)
4
Violoncelle, Piano
4
Violon, Violoncelle (duo)
3
2 Altos (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
Violon
2
2 Violons (duo)
2
Violon, Alto (duo)
2
Harpe, Voix
2
Violon (partie séparée)
1
Contrebasse, Piano (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
4 Violoncelles
1
Contre Basse
1
Alto seul
1
Piano Trio: Violon, Alto, Piano
1
Trio à Cordes: 3 violoncelles
1
+ 17 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
33
Orchestre à Cordes
9
Orchestre
8
Ensemble de cuivres
6
Jazz combo
5
Orchestre de chambre
3
Ensemble Jazz
2
Ensemble de Percussions
2
Cloches
2
Batterie
1
Fanfare
1
Quintette de Cuivres: autres combinaisons
1
+ 7 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
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
Autres Services
Autres Services
Top 100
Annuaire Web
Portées musicales
Metronome
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
414
Partitions Numériques
3
Librairie Musicale
0
Matériel de Musique
56
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← 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
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)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
No More Night
Orchestre de chambre
Partitions à imprimer
3 partitions trouvées
<
1
<Bari-Tuba Sextet> Night In the Hall of the Bald Mountain King
#
Orchestre de chambre
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Edvard Grieg,Modest Mussorgsky
#
Tsuyoshi Yoroiguma
#
<Bari-Tuba Sextet> Night
#
Tsuyoshi Yoroiguma
#
SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.711310 Composed by Edvard Grieg,Modest Mussorgsky. Arranged by Tsuyoshi Yoroiguma. Concert,Jazz,Romantic Period,St...
(+)
Chamber Orchestra - Level 4 - SKU: A0.711310 Composed by Edvard Grieg,Modest Mussorgsky. Arranged by Tsuyoshi Yoroiguma. Concert,Jazz,Romantic Period,Standards,World. Score and parts. 31 pages. Tsuyoshi Yoroiguma #4569503. Published by Tsuyoshi Yoroiguma (A0.711310). An unique titled music contains two orchestral works as follows;Night on Bald Mountain by Modest Mussorgsky and In The Hall Of The Mountain King from Peer Gynt suite No.1 by Edvard Grieg.Two musical themes will be heard in this arrangement, and also feel a taste of swing jazz.Your concert will be more exciting by this program.Instrumentation: 3 Euphoniums / 3 TubasPDF file includes 18 pages of score and 13 pages of parts.Playing time is 4min 35sec.
$33.00
Dreams - Score Only
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan Guerra González
#
Dreams - Score Only
#
Juan Carlos Guerra Gonzalez
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLY Please visit www.juancarlosguerra.com/dreams to buy or rent the parts. Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players: 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Note“Dreams†is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Island’s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work. I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams. II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the “heartbeat†played by the bass drum and timpani, then a more “stressful†section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose! III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a “oriental†style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra González
$159.99
Requiem
#
Orchestre de chambre
#
Harald Weiss
#
Requiem
#
Schott Music - Digital
#
SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
(+)
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
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
No More Night
