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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
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PIANO & CLAVIERS
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15
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11
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17
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8
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7
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3
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2
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2
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2
2 Cors (duo)
2
Trompette
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Trombone, Cor (duo)
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2 Trompettes (duo)
1
2 Tubas (duo)
1
Cor anglais, Guitare (duo)
1
Trompette, Cor (duo)
1
Euphonium, Tuba (duo)
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Cor
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Tuba
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Trompette, Harpe
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Bass Clef Instruments
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Trombone
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CORDES
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1192
Quintette à cordes: 2 violons, alto, violoncelle, basse
439
Contre Basse
343
Violon, Violoncelle (duo)
183
Violoncelle, Contrebasse (duo)
174
Quatuor à cordes: 2 violons, alto, violoncelle
108
2 Contrebasses (duo)
36
Violon, Alto (duo)
25
Quintette à cordes : 2 violons, alto et 2 violoncelles
21
Violon, Contrebasse (duo)
16
Trio à Cordes: violon, alto, violoncelle
14
2 Violoncelles (duo)
14
Contrebasse (partie séparée)
11
2 Altos (duo)
10
2 Harpes (duo)
10
2 Violons (duo)
9
Violoncelle, Piano
8
Trio à Cordes: 2 violons, violoncelle
7
Violon et Piano
7
Harpe
7
Violon
6
Alto et Basson
5
Alto, Violoncelle (duo)
5
Alto, Piano
4
Violon, Basson (duo)
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
4
Harpe, Violon, Violoncelle
2
3 Contrebasses
2
Harpe, Violoncelle (duo)
2
Harpe, Violon (duo)
2
Violoncelle , Guitare (duo)
2
Violoncelle (partie séparée)
2
4 Violoncelles
2
Trio à Cordes: 3 violoncelles
1
Violoncelle
1
Violon, Guitare (duo)
1
Violon (partie séparée)
1
Alto seul
1
Quatuor à cordes: 4 violons
1
Trio à Cordes: 2 violons, alto
1
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
152
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
27
Orchestre d'harmonie
19
Orchestre
16
Ensemble Jazz
14
Orchestre de chambre
5
Ensemble de cuivres
3
Cloches
1
Batterie
1
Jazz combo
1
Ensemble de Percussions
1
Piano et Orchestre
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AUTRES
Vous avez sélectionné:
Serenade | Schubert | String bass duet | Chords
Orchestre de chambre
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Shunk (when you're in a funk) - for Winds, Strings, and Timpani
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1369199 By Scott L. Graham. …
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1369199 By Scott L. Graham. By Scott L. Graham. 21st Century,Classical,Contemporary. 20 pages. Posterity Plus Publishing #953544. Published by Posterity Plus Publishing (A0.1369199). Orchestral: for Violin I, Violin II, Viola, Violoncello, Flutes, Clarinets in Bb, Oboe, Bassoon, Contrabass, Trumpets in Bb, French Horns in F, and TimpaniDissonent rich polychords and haunting modal and atonal melodies depict the deep sighs of those moments when one struggles with the hand they have been dealt. The timpani represents the march of life. The horns along with the woodwinds reflect the turmoil that breaks into these contemplations. The viola give a throaty lyrical voice that soothes in the midst of the moans and yawns of the backdrop.A short work 3:30; Includes score and all parts.
$4.69
4.32 €
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Orchestre de chambre
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Scott L
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Includes score and all parts
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Shunk
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Posterity Plus Publishing
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SheetMusicPlus
Baby, It's Cold Outside
Orchestre de chambre
Chamber Orchestra - Level 2 - Digital Download SKU: A0.1229674 By Dean Martin & Mar…
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Chamber Orchestra - Level 2 - Digital Download SKU: A0.1229674 By Dean Martin & Martina Mcbride. By Frank Loesser. Arranged by Paul Hemmer. Christmas,Film/TV,Holiday,Jazz,Pop. Score and Parts. 42 pages. PJMS MUSIC #825439. Published by PJMS MUSIC (A0.1229674). This delightful winter season favorite is scored for a small orchestra with a vocal duet.Instrumentation is Flute, Clarinet 1 & 2, Bass Clarinet, Bassoon, Horn in F 1 & 2, Trumpet 1-2, Trombone 1-2, Violine I-II, Viola-Cello-String Bass and Drum Set.Â
$60.00
55.27 €
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Orchestre de chambre
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Dean Martin & Martina Mcbride
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Paul Hemmer
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Baby, It's Cold Outside
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PJMS MUSIC
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SheetMusicPlus
Boccherini 1788 Fandango Chamber Orchestra Piano Score and Part
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1291636 By Rainer's Rainbow.…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1291636 By Rainer's Rainbow. By Luigi Boccherini 1743-1805. Arranged by R G Roth. 19th Century,20th Century,Baroque,Classical,Romantic Period. Score and Parts. 101 pages. Rainer's Rainbow #882259. Published by Rainer's Rainbow (A0.1291636). Boccherini wrote his Fandango for Guitar and String Quartet in 1788. It has been arranged here for Piano and Strings instead of the Guitar. This arrangement would work with just a string quartet, however an optional bass part has been added along with a percussion castanet part. This makes it suitable as a chamber orchestra piece. A full leadsheet with chords is also provided.
$14.99
13.81 €
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Orchestre de chambre
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Rainer's Rainbow
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R G Roth
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Boccherini 1788 Fandango Chamber Orchestra Piano Score and Part
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Rainer's Rainbow
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SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download 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
51.58 €
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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
ATON part 17-Interlude and Chorus of the Liberals
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.576199 Composed by David War…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.576199 Composed by David Warin Solomons. Contemporary,Opera. Score and parts. 48 pages. David Warin Solomons #5617. Published by David Warin Solomons (A0.576199). ATON is a stage play written by Manfred Strolz and Otmar Rützler which represents Egypt in the time of the Pharoahs but seen through the eyes of modern theatre directors and actors. The modern scenes are spoken but the Egyptian scenes require music, so Manfred and Otmar asked me to write the music for these. The music is composed for various forces as the play progresses, from the full orchestra (woodwind, strings, harp, piano, timpani) and choir down to more intimate moments with single voice or duets, flute and classical guitar or with single voice and bassoon. For each section the pdf file contains score and parts and the sound sample is an electronic preview. As I write, 18 sections have been composed, but more are to come - please just search for Aton in due course for the full picture. The first performance is planned to take place in the Landestheater in Innsbruck during 2015.
$5.00
4.61 €
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Orchestre de chambre
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David Warin Solomons
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ATON part 17-Interlude and Chorus of the Liberals
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David Warin Solomons
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SheetMusicPlus
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