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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
Roll.
Sheetmusicplus
Non classifié
1 600
Piano & claviers
Piano seul
1 058
Piano, Voix et Guitare
498
Piano, Voix
405
Piano Facile
354
Instruments en Do
128
Orgue
48
Accompagnement Piano
34
1 Piano, 4 mains
32
Piano (partie séparée)
32
Piano grosses notes
29
2 Pianos, 4 mains
8
Piano Quatuor: piano, 2 violons, violoncelle
7
Accordéon
6
Piano Trio: piano, violon, violoncelle
6
Piano Quatuor: piano, violon, alto, violoncelle
5
1 Piano, 6 mains
2
2 Pianos, 8 mains
2
Clavecin
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Clavier
1
Ensemble d'Accordéons
1
+ 16 instrumentations
Retracter
Guitares
Guitare notes et tablatures
448
Ligne De Mélodie, (Paroles) et Accords
247
Paroles et Accords
155
Ukulele
108
Guitare
107
Basse electrique
91
Guitare (partie séparée)
44
Banjo
24
2 Guitares (duo)
18
Mandoline
11
Basse électrique (partie séparée)
9
Dulcimer
7
2 Dulcimers (duo)
6
Dobro
4
Piano, Guitare (duo)
2
4 Guitares (Quatuor)
2
Ensemble de guitares
2
3 Guitares (trio)
1
+ 13 instrumentations
Retracter
Voix
Chorale SATB
374
Chorale 3 parties
174
Pack Instrumental pour Chorale
117
Chorale TTBB
107
Chorale 2 parties
90
Chorale SSAA
59
Chorale
28
Chorale Unison
21
Voix seule
16
Voix duo, Piano
11
Voix haute
7
Voix Alto, Piano
4
Voix Baryton, Piano
4
Voix basse, Piano
3
Voix Soprano, Piano
3
Voix, Guitare
1
Voix Tenor
1
Soli, choeur mixte et accompagnement
1
Voix Tenor, Piano
1
Voix haute, Piano
1
Chorale SSATTB
1
+ 16 instrumentations
Retracter
Vents
Saxophone (partie séparée)
275
Saxophone Tenor
138
Quatuor de Saxophones: 4 saxophones
91
Clarinette (partie séparée)
88
2 Saxophones (duo)
75
Saxophone Alto
75
Clarinette
62
Flûte traversière
60
Flûte traversière et Piano
58
Quatuor de Clarinettes: 4 clarinettes
52
2 Clarinettes (duo)
47
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
42
Hautbois, Piano (duo)
42
Flûte, Hautbois, Clarinette, Basson
41
Flute (partie séparée)
40
Hautbois (partie séparée)
39
2 Flûtes traversières (duo)
38
Clarinette et Piano
36
Saxophone Alto et Piano
28
Saxophone, Clarinette (duo)
28
Quatuor de Flûtes : 4 flûtes
28
Saxophone Tenor et Piano
25
Clarinette, Violon (duo)
24
Clarinette, Trompette (duo)
23
3 Saxophones (trio)
20
Flûte, Clarinette (duo)
19
2 Hautbois (duo)
18
Quintette de Saxophone: 5 saxophones
18
Hautbois, Basson (duo)
17
Saxophone Soprano et Piano
16
Flûte, Violon
15
Flûte et Guitare
15
Hautbois, Flûte
14
Quintette de Clarinettes: 5 clarinettes
13
Hautbois, Clarinette (duo)
13
Flûte, Alto (duo)
12
Ensemble de Clarinettes
12
3 Clarinettes (trio)
11
Saxophone Baryton, Piano
11
Flûte, Trompette (duo)
11
Clarinette et Alto
10
Ensemble de saxophones
10
Flûte, Saxophone (duo)
10
Cor anglais, Piano
9
Instruments en Mib
9
Clarinette, Guitare (duo)
9
Trio de Flûtes: 3 flûtes
8
Clarinette, Basson (duo)
7
Hautbois
6
Ensemble de Flûtes
6
Clarinette Basse, Piano
5
Ocarina
5
Saxophone Soprano
5
Hautbois, Guitare (duo)
5
Clarinette, Violoncelle (duo)
5
Harmonica
5
Flûte à bec Soprano, Piano
5
Flûte à bec Alto, Piano
4
Flûte à Bec
3
Clarinette Basse
3
Flûte, Hautbois, Basson
3
Cor Anglais
3
Flûte, Hautbois (duo)
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Flûte, Violoncelle
3
Saxophone
3
2 Flûte à bec (duo)
2
Flûte, Violon et Violoncelle
2
Hautbois, Violoncelle
2
Quintette de Flûte : 5 flûtes
2
Piccolo, Piano
2
Flûte irlandaise
2
3 Hautbois
2
Saxophone Baryton
2
Flûte, Violon, Violoncelle et Piano
2
Quatuor de Flûtes à bec
2
Flûte, Clarinette, Piano (trio)
2
Flûte, trombone et piano
2
3 Flûtes à bec (trio)
2
2 Clarinettes, Piano
1
Flûte à bec Alto
1
Flûte, Hautbois, Clarinette (trio)
1
Flute, harpe et violon
1
Clarinette, Violoncelle, Piano (trio)
1
Saxophone et Guitare
1
Flûte à Bec, Piano
1
Cor anglais, Guitare (duo)
1
Clarinette, trompette et piano
1
5 Flûtes à bec
1
Flûte à bec Tenor
1
Flûte, Basson et Piano
1
Flûte, Clarinette et Basson
1
Flûte à bec Soprano
1
2 Saxophones, Piano
1
Hautbois, violon (duo)
1
+ 90 instrumentations
Retracter
Cuivres
Trompette (partie séparée)
209
Trombone (partie séparée)
182
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
124
Trompette
60
Trombone
56
Quatuor de Cuivres : 2 trompettes, trombone, tuba
48
Trombone et Piano
43
Cor
41
Tuba (partie séparée)
32
Cor (partie séparée)
32
Trompette, Piano
30
Trompette, Saxophone (duo)
25
Tuba
24
Cor et Piano
22
2 Trompettes (duo)
18
2 Trombones (duo)
17
Trompette, Trombone (duo)
15
Quatuor de Cuivres: 2 trompettes, Cor, trombone
14
Tuba et Piano
13
Quatuor de cuivres: 4 trombones
11
Euphonium, Piano (duo)
10
Cor anglais, Piano
9
2 Cors (duo)
9
Instruments en Sib
7
Bass Clef Instruments
6
Trompette, Cor (duo)
5
Quatuor de Cuivres
5
2 Euphoniums et 2 Tubas
5
4 Tubas
4
Tuba ou Euphonium ou Saxhorn
4
Euphonium
3
3 Trombones (trio)
3
Cor, Violoncelle (duo)
3
Trompette, Basson (duo)
3
Quatuor de cuivres: 2 trompettes, 2 trombones
3
Quatuor de cuivres: 4 trompettes
3
Quatuor de cuivres: 4 cors
3
Cor Anglais
3
Trombone, violoncelle (duo)
2
Trombone, Tuba (duo)
2
Trombone, Cor (duo)
2
Trompette, Violoncelle (duo)
2
Trompette, Tuba (duo)
2
2 Tubas (duo)
2
Ensemble de Trombones
2
Ensemble de Cors
2
Cor, Tuba (duo)
2
Trombone basse et Piano
2
Trio de Cuivres
2
Cor et Basson (duo)
1
Ensemble de Trompettes
1
Cor anglais, Guitare (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
Ensemble de Tubas
1
+ 49 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
187
Violon
105
Harpe
104
Violoncelle
98
Violon et Piano
70
Contrebasse (partie séparée)
63
Violon, Violoncelle (duo)
58
Alto seul
52
Alto, Piano
50
Violoncelle, Piano
48
2 Violoncelles (duo)
41
Violon (partie séparée)
40
Violon, Alto (duo)
35
2 Violons (duo)
34
2 Altos (duo)
22
Trio à Cordes: violon, alto, violoncelle
17
Alto (partie séparée)
17
Alto, Violoncelle (duo)
16
Trio à Cordes: 2 violons, violoncelle
16
Violoncelle (partie séparée)
14
Violoncelle , Guitare (duo)
13
Contre Basse
13
Contrebasse, Piano (duo)
12
Alto, Guitare (duo)
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
4 Violoncelles
6
2 Harpes (duo)
5
Trio à Cordes: 3 violoncelles
4
2 Contrebasses (duo)
4
Trio à cordes: 3 violins
4
Trio à cordes: 3 altos
3
Harpe, Flûte (duo)
2
Ensemble de Violoncelles
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Trio à cordes
1
Violon, Guitare (duo)
1
Piano Trio: Violon, Alto, Piano
1
Violoncelle, Contrebasse (duo)
1
Harpe et Piano
1
Trio à Cordes: 2 violons, alto
1
Quatuor à cordes: 4 violons
1
Harpe, Violon (duo)
1
+ 37 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
566
Fanfare
285
Ensemble Jazz
154
Batterie
130
Orchestre à Cordes
114
Orchestre
79
Batterie (partie séparée)
65
Percussion (partie séparée)
47
Jazz combo
42
Cloches
38
Ensemble de cuivres
31
Ensemble de Percussions
26
Percussion
25
Orchestre de chambre
13
Marimba
11
Timbales (partie séparée)
8
Vibraphone
6
Caisse Claire
3
Xylophone
3
Timbales
2
Vibraphone (partie séparée)
2
Quatuor à Vent : 4 instruments à vents
1
Marimba, Piano (duo)
1
2 Marimbas
1
Big band
1
Bodhran
1
Voix et Orchestre
1
Xylophone (partie séparée)
1
Ensemble d'École
1
Quintette à Vent
1
+ 25 instrumentations
Retracter
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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
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EUPHONIUM
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
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LIVRES
LUTH
MANDOLINE
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Partitions à imprimer
13 partitions trouvées
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1
Beer Barrel Polka (roll Out The Barrel)
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
#
Bobby Vinton
#
Shay Hovell
#
Beer Barrel Polka
#
Hauteville Publishing
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.909389 By Bobby Vinton. By Jaromir Vejvoda, Lew Brown, Vasek Zeman, and Vladimir A. Timm. Arranged by Shay Hovell....
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Chamber Orchestra - Level 3 - SKU: A0.909389 By Bobby Vinton. By Jaromir Vejvoda, Lew Brown, Vasek Zeman, and Vladimir A. Timm. Arranged by Shay Hovell. Contemporary. Score and Parts. 9 pages. Hauteville Publishing #6865373. Published by Hauteville Publishing (A0.909389). 2 pianos 4 hands- upbeat version with some twists- intermediate.
$8.00
Cimarron (roll On)
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Orchestre de chambre
#
INTERMÉDIAIRE
#
Contemporain
#
Johnny Bond
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Craig Duncan
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Cimarron
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Craig Duncan Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.768168 Composed by Johnny Bond. Arranged by Craig Duncan. Contemporary. Score and parts. 12 pages. Craig Duncan Mu...
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Chamber Orchestra - Level 3 - SKU: A0.768168 Composed by Johnny Bond. Arranged by Craig Duncan. Contemporary. Score and parts. 12 pages. Craig Duncan Music #5899847. Published by Craig Duncan Music (A0.768168). Western Swing style arrangement for String Quartet, String Trio or String Orchestra with optional lead sheet and Piano part.
$12.99
Elder Scrolls III Morrowind
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Orchestre de chambre
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FACILE
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Contemporain
#
Jeremy Soule
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Elder Scrolls III Morrowind
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BETSUEL UESILE DO PRADO
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.809317 Composed by Jeremy Soule. Arranged by Betsuel Uesile Prado e Rodrigo Prado. Contemporary. Score and parts. ...
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Chamber Orchestra - Level 2 - SKU: A0.809317 Composed by Jeremy Soule. Arranged by Betsuel Uesile Prado e Rodrigo Prado. Contemporary. Score and parts. 16 pages. BETSUEL UESILE DO PRADO #6516893. Published by BETSUEL UESILE DO PRADO (A0.809317).
$36.99
The Girl with the Flaxen Hair
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Classique
#
Claude Debussy
#
Ray A
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The Girl with the Flaxen Hair
#
Ray A. Carroll
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1102927 Composed by Claude Debussy. Arranged by Ray A. Carroll. Classical. Score and parts. 9 pages. Ray A. Carrol...
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Chamber Orchestra - Level 3 - SKU: A0.1102927 Composed by Claude Debussy. Arranged by Ray A. Carroll. Classical. Score and parts. 9 pages. Ray A. Carroll #706240. Published by Ray A. Carroll (A0.1102927).
$2.50
Olga-Polka, Op. 196 (arr. for string orchestra): Optional Percussion
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Orchestre de chambre
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Strauss Jr
#
Aaron Meier
#
Olga-Polka, Op. 196
#
Aaron Meier
#
SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.922640 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aa...
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Chamber Orchestra - Level 4 - SKU: A0.922640 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792381. Published by Aaron Meier (A0.922640). Original by Johann Strauss II Reduction to String Orchestra by Aaron Meier Part: *Optional Percussion (snare drum, triangle, cymbals) True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament). Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles) --- Performance Notes: • Approximate length: 3:30 minutes • 1st Violins: In m. 1, trill a half step from a D♠to a D♮ • 2nd Violins:  - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B  - At m. 72-75, emphasize the E♠in the div. • Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓) History: The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody. Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms. [excerpted from NAXOS Records] Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.
$3.99
Till We Meet Again
#
Orchestre de chambre
#
FACILE
#
W
#
Soji Ojeniyi
#
Till We Meet Again
#
Tinglescroll Publishers
#
SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.1421610 Composed by W.G. Tomer & J.E. Rankin. Arranged by Soji Ojeniyi. 19th Century,20th Century,Chamber,Children...
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Chamber Orchestra - Level 2 - SKU: A0.1421610 Composed by W.G. Tomer & J.E. Rankin. Arranged by Soji Ojeniyi. 19th Century,20th Century,Chamber,Children,Christian. 12 pages. Tinglescroll Publishers #1003013. Published by Tinglescroll Publishers (A0.1421610).
$10.00
Conflusion - Suite - Wind Ensemble
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Thomas Graf
#
Thomas Graf
#
Conflusion - Suite - Wind Ense
#
Thomas Graf - the-hit-factory.com
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.567766 Composed by Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Contemporary,Jazz. Score and parts...
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Chamber Orchestra - Level 3 - SKU: A0.567766 Composed by Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Contemporary,Jazz. Score and parts. 216 pages. Thomas Graf - the-hit-factory.com #546297. Published by Thomas Graf - the-hit-factory.com (A0.567766). Phantasie in 3 Sätzen für Großes Bläserensemble, Kontrabass und Schlagwerk 1. Deux Caractères 2. Dialogues 3. Dance de Conflusion Confluence heißt ein Ort in Lyon an dem 2 Flüsse zusammen fließen: Die Saône mündet in die - zumindest im Deutschen - weibliche Rhone. Im Französischen mündet sie aber in DEN Rhone – Le Rhône. Das verwirrt den Komponisten: Wie erhalten Flüsse ihr Geschlecht, sind sie mal männlich, mal weiblich? Liegt es an ihrem Charakter, an der Landschaft, die sie durchfließen? An ihrem Wasser, ihren Fischen gar? An den Menschen an ihren Ufern? Es entsteht eine veritable Konfusion. Bei darauf folgenden Gedanken über Musik entdeckt der Komponist gewisse Analogien und stellt sich die Frage: Gibt es eigentlich geschlechtertypische Musik? Oder Instrumente? Typisch männliche Harmonien oder Rhythmen? Oder eindeutig weibliche Melodien und die Art, zu interpretieren? Dieser Frage widmet sich die 3-sätzige Komposition und mäandriert dabei tänzerisch im Bett der zusammenfließenden Ströme. Farbenreiche modale Harmonien bilden das Bett für weite Melodiebögen. Ein variiert wiederkehrendes Thema gibt die Richtung vor und erzeugt einen sprudelnd tänzelnden Sog in Richtung der Mündung: Tanzendes Finale! 1. Satz: Deux Charactères Im ersten Satz (Andante) werden die Rollen verteilt - die Sâone und der Rhône erhalten ihre Darsteller. Ein erster Blick auf das Ensemble lässt schon eine Tendenz erkennen: Holzbläser(inne)n übernehmen die weibliche Hauptrolle, das männliche Blech den Gegenpart. Die beiden Schlagwerker unterstützen solidarisch je einen der beiden Pole. Mag die Zuordnung auf der Hand liegen, so bleiben doch starke Zweifel im Schlussakkord des ersten Satzes. 2. Dialogues In kleineren und größeren Dialogen wird sich munter ausgetauscht und werden die Eigenschaften herausgearbeitet und weiter entwickelt. Aber es wird zunehmend auch kopiert und imitiert, gar boshaft agitiert und nachgeäfft. Man versucht sich gegenseitig zu überzeugen, fällt sich ins Wort, braust beiderseits zunehmend auf, es wird lauter und hektischer, immer lauter, zu laut, bis die Kommunikation erlischt: Man schreit sich schließlich nur noch an! 3. Dance de Conflusion Die entstandene Konfusion findet im dritten Satz der Komposition ein versöhnliches Ende: Lasst uns tanzen! So wird schlussendlich aus der anfänglichen Confusion eine Conflusion: Es fließt und tanzt zusammen, was zusammen gehört. About this arrangement: Instrumentation: Full Score Piccolo Flute 1 Flute 2 Oboe 1 Oboe 2 English Horn Clarinet 1 in Bb Clarinet 2 in Bb Bass Clarinet in Bb Bassoon 1 Bassoon 2 Contrabassoon Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Contrabass Perc 1 (Snare Drum Chimes) Perc 2 (Triangle Cymbals) Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic.
$80.00
Conflusion - Suite - Woodwind Ensemble - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Graf
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Thomas Graf
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Conflusion - Suite - Woodwind
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1115988 Composed by Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Jazz. Score and parts. 27 pages. ...
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Chamber Orchestra - Level 4 - SKU: A0.1115988 Composed by Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Jazz. Score and parts. 27 pages. Thomas Graf - the-hit-factory.com #717713. Published by Thomas Graf - the-hit-factory.com (A0.1115988). Phantasie in 3 Sätzen für Großes Bläserensemble, Kontrabass und Schlagwerk 1. Deux Caractères 2. Dialogues 3. Dance de Conflusion Confluence heißt ein Ort in Lyon an dem 2 Flüsse zusammen fließen: Die Saône mündet in die - zumindest im Deutschen - weibliche Rhone. Im Französischen mündet sie aber in DEN Rhone – Le Rhône. Das verwirrt den Komponisten: Wie erhalten Flüsse ihr Geschlecht, sind sie mal männlich, mal weiblich? Liegt es an ihrem Charakter, an der Landschaft, die sie durchfließen? An ihrem Wasser, ihren Fischen gar? An den Menschen an ihren Ufern? Es entsteht eine veritable Konfusion. Bei darauf folgenden Gedanken über Musik entdeckt der Komponist gewisse Analogien und stellt sich die Frage: Gibt es eigentlich geschlechtertypische Musik? Oder Instrumente? Typisch männliche Harmonien oder Rhythmen? Oder eindeutig weibliche Melodien und die Art, zu interpretieren? Dieser Frage widmet sich die 3-sätzige Komposition und mäandriert dabei tänzerisch im Bett der zusammenfließenden Ströme. Farbenreiche modale Harmonien bilden das Bett für weite Melodiebögen. Ein variiert wiederkehrendes Thema gibt die Richtung vor und erzeugt einen sprudelnd tänzelnden Sog in Richtung der Mündung: Tanzendes Finale! 1. Satz: Deux Charactères Im ersten Satz (Andante) werden die Rollen verteilt - die Sâone und der Rhône erhalten ihre Darsteller. Ein erster Blick auf das Ensemble lässt schon eine Tendenz erkennen: Holzbläser(inne)n übernehmen die weibliche Hauptrolle, das männliche Blech den Gegenpart. Die beiden Schlagwerker unterstützen solidarisch je einen der beiden Pole. Mag die Zuordnung auf der Hand liegen, so bleiben doch starke Zweifel im Schlussakkord des ersten Satzes. 2. Dialogues In kleineren und größeren Dialogen wird sich munter ausgetauscht und werden die Eigenschaften herausgearbeitet und weiter entwickelt. Aber es wird zunehmend auch kopiert und imitiert, gar boshaft agitiert und nachgeäfft. Man versucht sich gegenseitig zu überzeugen, fällt sich ins Wort, braust beiderseits zunehmend auf, es wird lauter und hektischer, immer lauter, zu laut, bis die Kommunikation erlischt: Man schreit sich schließlich nur noch an! 3. Dance de Conflusion Die entstandene Konfusion findet im dritten Satz der Komposition ein versöhnliches Ende: Lasst uns tanzen! So wird schlussendlich aus der anfänglichen Confusion eine Conflusion: Es fließt und tanzt zusammen, was zusammen gehört. About this arrangement: Instrumentation: Full Score Piccolo Flute 1 Flute 2 Oboe 1 Oboe 2 English Horn Clarinet 1 in Bb Clarinet 2 in Bb Bass Clarinet in Bb Bassoon 1 Bassoon 2 Contrabassoon Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Contrabass Perc 1 (Snare Drum Chimes) Perc 2 (Triangle Cymbals) Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic.
$10.00
Chamber Music with Percussion in School II. - ÜtÅ‘s Kamarazene az Iskolában II.
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Orchestre de chambre
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FACILE
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Béla Ugró
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Chamber Music with Percussion
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Bela Ugro
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.1373894 Composed by Béla Ugró. 21st Century,Chamber,Classical,Contemporary,Multicultural,World. 107 pages. B...
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Chamber Orchestra - Level 2 - SKU: A0.1373894 Composed by Béla Ugró. 21st Century,Chamber,Classical,Contemporary,Multicultural,World. 107 pages. Bela Ugro #958370. Published by Bela Ugro (A0.1373894). Explore the rhythmic wonders of percussion chamber music with Chamber Music with Percussion in School II. - ÃœtÅ‘s Kamarazene az Iskolában II., an exciting music sheet collection crafted by the talented composer Béla Ugró. Specifically designed for school ensembles, this collection presents an array of engaging pieces meticulously curated to inspire and challenge budding percussionists with a total of 107 pages.Content:Drumset Duo: ROLLEREK FUNKY DRUMMERS BUMERÃNG BLUES DRUMMERS PICTURES Percussion Ensemble: AFRIKAI TÃNC JEGES LABIRINTUS Parade: BOSSA NOVA (Percussion Quintet) With a diverse selection ranging from dynamic drumset duos to intricate percussion ensemble pieces and vibrant parade compositions, this collection provides students with an immersive musical experience that fosters teamwork, creativity, and technical proficiency. Chamber Music with Percussion in School II. offers an enriching journey for both performers and audiences, encouraging exploration and expression through the captivating world of percussion chamber music.Keywords:Percussion Chamber MusicBéla Ugró CompositionsSchool Ensemble MusicDrumset Duo PiecesPercussion Ensemble RepertoireEducational Music SheetsRhythmic ChallengesCreative Percussion ArrangementsVibrant Parade CompositionsSchool Music CurriculumPercussion TechniquesEnsemble Performance MusicPercussion Education ResourcesStudent Percussion RepertoireCollaborative Percussion Music.
$20.00
Homage to Sibelius
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Stanley M Hoffman
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Homage to Sibelius
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stanleymhoffman.com
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #89...
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Chamber Orchestra - Level 4 - SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #897424. Published by stanleymhoffman.com (A0.1308171). I have long wanted to compose an homage to Jean Sibelius. However, his music is copyright protected in the EU for another five years or so. Thus, I struggled with how to compose a work without any direct musical quotations, and yet which in some way captures the essence of his symphonic music. I had a breakthrough in recent weeks, and the result is an eleven-minute orchestral composition which manages to invoke his music without directly quoting it. The opening passage on which the piece is based invokes the opening of Symphony No. 6 without quoting it; also, my homage is in the key of A Minor whereas the symphony is in the key of D minor. The piece also invokes the orchestral colors of one of my other favorite pieces of Sibelius, The Swan of Tuonela. My composition is scored very closely to that one, but I ended up using two oboes; I never needed an English Horn, and I added two flutes to that scoring. Thus, the instrumentation is as follows: 2fl-2ob-1cl/bcl-2bn-4hn-3tbn-timp-bd-str; the duration is ca. 11:30. My homage also invokes the more youthful compositions of the great master, and of course features his biggest personal influence, the sounds of nature. Sibelius was a master of musical forms. He managed to create entirely original forms such as the one for Symphony No. 7. While I do not pretend to be in his league in any way, I did manage to compose a work in a four-part form, which is unusual, and not the least of which for me. The piece contains all kinds of indirect references to the music of Sibelius through the use of motifs, melodies, harmonies, ornamentation, and orchestration.While not the most original piece of music I have ever composed (that would be The City In the Sea: Choral Tone Poem), my Homage to Sibelius is among the most subtle of my works in that it contains a good deal of variation technique, and a lot of attention to detail. Like my Homage to Vaughan Williams for string orchestra, the idea was not to break new stylistic ground, but rather to pay homage to the ground broken by the master. More so than anything, my Homage to Sibelius invokes how the symphonic music of Sibelius makes me feel when I am listening to it. I hope you enjoy it.---HOMAGE TO SIBELIUS for Chamber OrchestraMusic by  Stanley M. Hoffman (b. 1959 [BMI]) Inspired by the Music of Jean Sibelius (1865–1957)NotePerformer 4 Audio and Scrolling Score Video Seeking Live PerformancesMusic:© Copyright 2023 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)comAll rights reserved.  The sheet music is available from the composer and from Sheet Music Plus.
$103.50
Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)
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Orchestre de chambre
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Ofer Ben-Amots
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Songs from the Pomegranate Gar
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The Composer's Own Press
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SheetMusicPlus
Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681....
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Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas – Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composer’s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: חידוש – פירוש – שימור – חיפוש). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judéo-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato ‘sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato ‘sta el hijo del rey (The King’s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha B’Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation. Duration: ca. 24 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00
On the Moors
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Orchestre de chambre
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Contemporain
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W
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On the Moors
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W. Luke Kelly
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SheetMusicPlus
Chamber Orchestra - SKU: A0.992402 Composed by W. Luke Kelly. 20th Century. Score and parts. 12 pages. W. Luke Kelly #3544071. Published by W. Luke Kell...
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Chamber Orchestra - SKU: A0.992402 Composed by W. Luke Kelly. 20th Century. Score and parts. 12 pages. W. Luke Kelly #3544071. Published by W. Luke Kelly (A0.992402). This free flowing, beautiful piece, is meant to evoke a walk through green, rolling hills, tall grass, and the warm sun. Allow your ensemble to become expressive, as they learn to follow the conductor in changing tempos, time signatures, and rhythms, and paint a sound picture of a perfect Spring day.
$6.99
Norwegian Wood (this Bird Has Flown) - Beatles for Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE
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Rock
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The Beatles
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Javier Martínez
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Norwegian Wood
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SheetMusicPlus
Harpsichord, Violin, Viola, Cello - Intermediate - By The Beatles. Arranged by Javier Martínez. Score, Set of Parts. 18 pages. Published by A...
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Harpsichord, Violin, Viola, Cello - Intermediate - By The Beatles. Arranged by Javier Martínez. Score, Set of Parts. 18 pages. Published by Arte Nova Music Lab
"Norwegian Wood (This Bird Has Flown)" is a song by the English rock band the Beatles from their 1965 album Rubber Soul. It was written mainly by John Lennon and credited to the Lennon?McCartney songwriting partnership. Influenced by the introspective lyrics of Bob Dylan, the song is considered a milestone in the Beatles' development as songwriters. The track features a sitar part, played by lead guitarist George Harrison, that marked the first appearance of the Indian string instrument on a Western rock recording. The song was a number 1 hit in Australia when released on a single there in 1966, coupled with "Nowhere Man".
Lennon wrote the song as a veiled account of an extramarital affair he had in London. When recording the track, Harrison chose to add a sitar part after becoming interested in the instrument's exotic sound while on the set of the Beatles' film Help!, in early 1965. Further to several British bands, including the Beatles, using guitars to imitate the drone and other musical textures of the sitar in their recordings, "Norwegian Wood" was influential in the development of raga rock andpsychedelic rock during the mid 1960s. The song also helped elevate Ravi Shankar and Indian classical music to mainstream popularity in the West. Many other rock and pop artists, including the Byrds, the Rolling Stones and Donovan, began integrating elements of the genre into their musical approach. "Norwegian Wood" is also recognised as a key work in the early evolution of world music.
Taken from https://en.wikipedia.org/wiki/Norwegian_Wood_(This_Bird_Has_Flown)
$40.00
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