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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
Scene And Dance
Non classifié
98
Piano & claviers
Piano seul
42
Piano Facile
37
Piano, Voix et Guitare
15
Piano, Voix
3
1 Piano, 4 mains
3
Instruments en Do
2
Piano Trio: piano, violon, violoncelle
2
2 Pianos, 4 mains
2
Piano Quatuor: piano, violon, alto, violoncelle
2
2 Accordéons
1
Accordéon
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 7 instrumentations
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Guitares
Guitare notes et tablatures
5
Piano, Guitare (duo)
4
2 Guitares (duo)
2
Banjo
2
Guitare
2
Ligne De Mélodie, (Paroles) et Accords
2
Paroles et Accords
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
2
Chorale 3 parties
1
Vents
2 Clarinettes (duo)
8
Clarinette et Piano
8
Flûte traversière et Piano
8
2 Saxophones (duo)
7
Quatuor de Saxophones: 4 saxophones
7
Saxophone Alto et Piano
6
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
6
Quatuor de Clarinettes: 4 clarinettes
5
Flûte traversière
5
Flûte, Clarinette (duo)
4
Saxophone Alto
4
Hautbois, Piano (duo)
4
2 Flûtes traversières (duo)
4
Hautbois (partie séparée)
3
Saxophone, Clarinette (duo)
3
Saxophone Tenor
3
Flûte, Hautbois, Clarinette, Basson
2
Saxophone (partie séparée)
2
Trio de Flûtes: 3 flûtes
2
Saxophone Tenor et Piano
2
Quatuor de Flûtes : 4 flûtes
2
Flûte et Guitare
2
Clarinette, Violon (duo)
2
Flûte à bec Alto, Piano
2
Clarinette
2
Saxophone Baryton, Piano
2
2 Hautbois (duo)
2
Flûte, Saxophone (duo)
1
Clarinette et Alto
1
Clarinette, Guitare (duo)
1
Flûte, Trompette (duo)
1
Hautbois, Clarinette (duo)
1
Hautbois, Flûte
1
Flûte, Violon
1
Ensemble de saxophones
1
Hautbois, Basson (duo)
1
+ 31 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
9
Trompette, Piano
5
Trombone et Piano
5
2 Trombones (duo)
3
2 Trompettes (duo)
3
Trompette
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Trompette, Saxophone (duo)
2
2 Cors (duo)
2
Tuba et Orgue
2
2 Tubas (duo)
2
Trompette, Trombone (duo)
2
Tuba
2
Trio de Cuivres
2
Quatuor de Cuivres
2
Trompette, Cor (duo)
1
Tuba et Piano
1
+ 12 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
22
Violoncelle
9
Violoncelle, Piano
7
2 Violons (duo)
7
Violon et Piano
6
2 Violoncelles (duo)
5
2 Altos (duo)
5
Alto, Piano
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
Violon, Alto (duo)
4
Violon
4
Violon, Violoncelle (duo)
3
Trio à Cordes: 2 violons, violoncelle
3
Violon (partie séparée)
3
Trio à Cordes: violon, alto, violoncelle
3
Contrebasse, Piano (duo)
2
Contre Basse
2
Violon, Clarinette, Piano (trio)
1
Alto (partie séparée)
1
Alto seul
1
Contrebasse (partie séparée)
1
Harpe
1
+ 17 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
59
Orchestre
16
Orchestre à Cordes
6
Orchestre de chambre
5
Ensemble Jazz
2
Ensemble de Percussions
1
Ensemble de cuivres
1
+ 2 instrumentations
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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
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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
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)
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ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
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CONTEMPORAIN - 20-21…
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COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
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FLAMENCO
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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
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Vous avez sélectionné:
Scene And Dance
Orchestre de chambre
Partitions à imprimer
5 partitions trouvées
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Dance Scenes for young musicians
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Orchestre de chambre
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FACILE
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Maddy Aldis-Evans
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Dance Scenes for young musicia
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Maddy Aldis-Evans
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.922583 Composed by Maddy Aldis-Evans. 20th Century,Children,Contemporary. Score and parts. 124 pages. Maddy Aldis-...
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Chamber Orchestra - Level 2 - SKU: A0.922583 Composed by Maddy Aldis-Evans. 20th Century,Children,Contemporary. Score and parts. 124 pages. Maddy Aldis-Evans #5325427. Published by Maddy Aldis-Evans (A0.922583). Three short movements for youth orchestra. With bold, dynamic rhythms and quirky melodies, these short pieces have proved popular with youth orchestras in both the UK and Germany, where the work has been performed many times. Designed as dance music, they can be choreographed and danced to as well.
$29.99
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
March of the Antz - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Leanne Thompson
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March of the Antz - Score Only
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L. J. Thompson
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1476498 Composed by Leanne Thompson. Children,Film/TV,Video Game. 6 pages. L. J. Thompson #1054022. Published by L...
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Chamber Orchestra - Level 4 - SKU: A0.1476498 Composed by Leanne Thompson. Children,Film/TV,Video Game. 6 pages. L. J. Thompson #1054022. Published by L. J. Thompson (A0.1476498). A light and breezy tune in C major, crafted for children’s animation or video games, characterised by its catchy, singable melody and buoyant rhythm. Think of playful motifs that can be easily associated with characters and scenes, enhancing the storytelling aspect of the media. The flowing tempo should encourage movement and dance, reflecting the lively energy of children’s entertainment.
$9.99
"The Flying Hat" for chamber orchestra (excerpts)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Panagiotis Theodossiou
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"The Flying Hat" for
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Panagiotis Theodossiou
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.886736 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Standards. Score and parts. 60 pages. Pan...
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Chamber Orchestra - Level 4 - SKU: A0.886736 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Standards. Score and parts. 60 pages. Panagiotis Theodossiou #6019921. Published by Panagiotis Theodossiou (A0.886736). The Flying Hat Scenes of a Fairy Tail, for orchestra op.34 (2006) a. A Little Fanfare b. The Hatland c. Dad, the Giant Hat d. Dance of the Little Hats e. The Wind f. The Flight g. Farewell A fairy tale full of inspiration written by a child was the stimulus for the creation of this polytonal work for orchestra. With humor and innocence, piquant orchestration and cinematic use of the sound, the work is dedicated to the child, Michalis Tillianakis and to Eleutherios Geitonas, director of Geitonas School who gave the idea for this project. The work has been transcribed for piano, 4 hands, for the Duo Pianismo recital in Benetatou Cultural Center of Psihiko in 2010 and for wind quintet for the Q innegal Wind Quintet Concerts in Athens in 2011 (Attikon OdeionConservatory, Art Gallery Café, Athens, Perigiali Theater, Korinthos). Excerpts of the work has been performed by Psychiko Youth Orchestra conducted by the composer at Arssakeion Educational Institute Theater in 2016.
$20.00
Esther Suite
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Orchestre de chambre
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INTERMÉDIAIRE
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Gordon Rouse
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Gordon Rouse
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Esther Suite
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Rosemary Abetz-Rouse
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1236385 Composed by Gordon Rouse. Arranged by Gordon Rouse. Broadway,Folk,Jewish,Musical/Show,Opera. Score and Par...
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Chamber Orchestra - Level 3 - SKU: A0.1236385 Composed by Gordon Rouse. Arranged by Gordon Rouse. Broadway,Folk,Jewish,Musical/Show,Opera. Score and Parts. 95 pages. Rosemary Abetz-Rouse #831458. Published by Rosemary Abetz-Rouse (A0.1236385). Esther: Queen of Persian is a full choral musical first performed in South Morang 1997. This is an orchestral suite adapted from the overture. This features excerpts:FanfareBattle SceneEsther's PleaZeresh and Agagite DanceThis suitable for a reduced orchestra with piano feature. The oboe part is the same as the 2nd flute here. Please feel free to fill out brass by doubling clarinet parts.All parts on the score are included as separate instrumental parts.The piano gets a beautiful solo in the middle, this is like a Nocturne - milk it hard!
$24.99
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Scene And Dance
