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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
O, America - Violin
Non classifié
171
Piano & claviers
Piano, Voix
266
Piano seul
198
Accordéon
37
Piano Facile
32
Piano, Voix et Guitare
21
Orgue
21
Instruments en Do
12
Accompagnement Piano
6
Piano grosses notes
5
1 Piano, 4 mains
4
2 Pianos, 4 mains
3
Orgue, Trompette (duo)
2
Piano (partie séparée)
1
Accordéon, Piano
1
+ 9 instrumentations
Retracter
Guitares
Guitare
18
Guitare notes et tablatures
13
Ligne De Mélodie, (Paroles) et Accords
8
Ukulele
6
Banjo
3
Mandoline
1
Paroles et Accords
1
2 Guitares (duo)
1
+ 3 instrumentations
Retracter
Voix
Chorale SATB
154
Chorale 3 parties
19
Chorale TTBB
15
Chorale 2 parties
13
Chorale Unison
11
Voix duo, Piano
11
Chorale SSAA
5
Voix duo
3
Chorale
2
Voix seule
1
Voix Soprano, Piano
1
Voix Baryton
1
Voix Tenor
1
Chorale SSAATB
1
+ 9 instrumentations
Retracter
Vents
Clarinette (partie séparée)
21
Saxophone (partie séparée)
21
2 Saxophones (duo)
20
Flûte traversière et Piano
15
Saxophone, Clarinette (duo)
9
2 Clarinettes (duo)
9
Clarinette et Piano
9
Saxophone Alto et Piano
8
Quatuor de Saxophones: 4 saxophones
8
Flûte, Hautbois, Clarinette, Basson
7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
2 Flûtes traversières (duo)
7
Saxophone Soprano et Piano
6
Cor anglais, Piano
6
Flûte, Clarinette (duo)
6
Flûte traversière
6
Flute (partie séparée)
6
Clarinette
5
Saxophone Tenor et Piano
5
Clarinette, Trompette (duo)
5
Hautbois, Piano (duo)
5
Trio de Flûtes: 3 flûtes
5
Hautbois (partie séparée)
4
Saxophone Baryton, Piano
4
Saxophone Tenor
4
Saxophone Alto
4
2 Hautbois (duo)
4
Flûte, Saxophone (duo)
3
Clarinette Basse, Piano
3
Hautbois, Clarinette (duo)
3
Quintette de Saxophone: 5 saxophones
3
Clarinette et Alto
3
Quatuor de Clarinettes: 4 clarinettes
2
Flûte, Trompette (duo)
2
Hautbois
2
Hautbois, Flûte
2
Piccolo, Piano
1
Ensemble de saxophones
1
Clarinette, Harpe (duo)
1
Flûte, Alto (duo)
1
2 Flûtes traversières, Piano
1
Flûte à bec Alto, Piano
1
Saxophone Soprano
1
Flûte à bec Soprano, Piano
1
Hautbois, Basson (duo)
1
Quatuor de Flûtes : 4 flûtes
1
2 Clarinettes, Piano
1
Ensemble de Clarinettes
1
3 Clarinettes (trio)
1
Flûte, Hautbois (duo)
1
+ 45 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
24
Trombone (partie séparée)
14
Trompette, Piano
12
Trombone et Piano
9
Quatuor de Cuivres
8
Cor (partie séparée)
7
Tuba (partie séparée)
7
Trompette
7
Cor anglais, Piano
6
2 Trompettes (duo)
6
Trompette, Saxophone (duo)
6
2 Trombones (duo)
6
Trompette (partie séparée)
5
Cornet A Pistons
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Cor et Piano
3
Trompette, Cor (duo)
2
Trombone
2
Cor et Harpe
2
Tuba et Piano
2
Euphonium, Piano (duo)
2
Trompette, Trombone (duo)
2
2 Euphoniums (duo)
1
Cor
1
2 Trompettes, Clavier (piano ou orgue)
1
Quatuor de cuivres: 4 cors
1
2 Cors (duo)
1
3 Trompettes (trio)
1
Trompette, Harpe
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
+ 25 instrumentations
Retracter
Cordes
2 Harpes (duo)
32
Harpe
16
Violoncelle
10
Alto, Piano
9
Violoncelle, Piano
8
Harpe, Flûte (duo)
8
2 Violoncelles (duo)
7
Trio à cordes
6
2 Altos (duo)
4
Alto (partie séparée)
3
Contrebasse (partie séparée)
3
Alto seul
2
Contre Basse
1
Alto et Harpe
1
Harpe, Violoncelle (duo)
1
Violoncelle (partie séparée)
1
Contrebasse, Piano (duo)
1
+ 12 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
113
Orchestre
25
Cloches
10
Ensemble de cuivres
9
Percussion (partie séparée)
9
Orchestre à Cordes
5
Orchestre de chambre
4
Percussion
3
Ensemble Jazz
2
Timbales (partie séparée)
2
Vibraphone
1
Instrumentation Flexible
1
Xylophone
1
Cajon
1
Timbales
1
+ 10 instrumentations
Retracter
Autres
Instruments
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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
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PAS DE PART…
PERCU. ORCH…
PERCUSSION
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SAXOPHONE
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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
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Vous avez sélectionné:
O, America - Violin
Orchestre de chambre
Partitions à imprimer
4 partitions trouvées
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O How the Winds are Changin'!
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Orchestre de chambre
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Contemporain
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James Alexander Pavlic
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O How the Winds are Changin'!
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James A. Pavlic
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SheetMusicPlus
Chamber Orchestra - SKU: A0.923347 Composed by James Alexander Pavlic. Contemporary. Score and parts. 25 pages. James A. Pavlic #6339863. Published by J...
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Chamber Orchestra - SKU: A0.923347 Composed by James Alexander Pavlic. Contemporary. Score and parts. 25 pages. James A. Pavlic #6339863. Published by James A. Pavlic (A0.923347). Work scored a finalist spot in the Great American Song Contest. Work was inspired about the ever changing nature of the wind. Sometimes it gets easy; and, sometimes it picks up, taking with it whatever it can within its grasp. Scored for chamber orchestra and link to audio of work is found here: https://distrokid.com/hyperfollow/alexanderjamespavlic/dmGf. Visual of score playing is at link included in Youtube Link.
$10.99
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
Takihuaira - Para flauta y orquesta de cuerdas
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Orchestre de chambre
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Freddy Colina Santos
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Takihuaira - Para flauta y orq
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Freddy Colina
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SheetMusicPlus
Chamber Orchestra - SKU: A0.1029740 Composed by Freddy Colina Santos. World. Score and parts. 35 pages. Freddy Colina #5360409. Published by Freddy Coli...
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Chamber Orchestra - SKU: A0.1029740 Composed by Freddy Colina Santos. World. Score and parts. 35 pages. Freddy Colina #5360409. Published by Freddy Colina (A0.1029740). Takihuaira (Para Flauta y Orquesta de Cuerdas) Takihuaira o canto de libertad, es una obra compuesta en homenaje a un gran amigo, Jesús Córdoba. Un amigo que en la vida siempre gustó de la música y querÃa hacer de ella su gran profesión. Un amigo que me enseñó que siempre tendrÃamos que luchar por mis sueños y que si la música era uno de ellos el siempre estarÃa ahà para apoyarme. Lastimosamente Dios lo llamo a ser parte de su coro de ángeles y ahora sé que desde allà no estarÃa más orgulloso que viéndome cumplir mi sueño. Ésta pequeña y sencilla es también un homenaje a esa música que nace de los simples sonidos, sonidos que convertidos en melodÃa y amalgamados con un ritmo cadencioso y una sutil armonÃa crean la más bella de las músicas. Un homenaje a la música andina. Takihuaira es el mestizaje musical de la cultura oriental con la hermosura andina suramericana.
$80.00
Overture to "A Lucky Star" A 1920s Musical, Full Orchestra Score and Individual Parts
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Orchestre de chambre
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INTERMÉDIAIRE
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James Nathaniel Holland
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Overture to "A Lucky Star
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James Nathaniel Holland
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.730508 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Jazz,Musical/Show,Patriotic. Score and p...
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Chamber Orchestra - Level 3 - SKU: A0.730508 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Jazz,Musical/Show,Patriotic. Score and parts. 74 pages. James Nathaniel Holland #5955675. Published by James Nathaniel Holland (A0.730508). Overture to American composer James Nathaniel Holland's early 1920s-styled musical A Lucky Star. The story about coming to terms with where you're from while attaining your dreams. Featured are 4 popular songs: A Lucky Star; O Baby, You Treat Me Too Rough; New York The City, The Town of Your Dreams; and Indiana. Perfect for period 20s jazz concert or opening to pops orchestra concert. Full score in concert pitch and individual instrument parts included. Instr: picc, fl12, ob12, cl12, bsn, hrn12, tpt, trmb, timp, drum set, piano (w/opt. banjo), strings. Duration: 8:28.
$15.95
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O, America - Violin
