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2
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1
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Flûte, Hautbois, Piano (trio)
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Clarinette Basse, Piano
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3
2 Trompettes (duo)
2
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Trombone
2
Quatuor de cuivres: 4 trompettes
1
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1
Tuba
1
Trombone (partie séparée)
1
Cor Anglais
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
4 Tubas
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Euphonium, Piano (duo)
1
Ensemble de Tubas
1
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
91
Contrebasse, Piano (duo)
17
Violon
16
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15
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14
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12
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9
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8
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7
Contre Basse
6
Harpe
6
Trio à Cordes: 2 violons, violoncelle
4
Violoncelle
4
Violon, Guitare (duo)
3
Violoncelle, Contrebasse (duo)
3
Alto seul
3
Violoncelle, Piano
3
Trio à Cordes: 3 violoncelles
2
2 Harpes (duo)
2
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2
2 Contrebasses (duo)
2
Harpe, Voix
2
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2
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2
2 Violoncelles (duo)
2
Trio à cordes: 3 altos
1
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1
4 Contrebasses
1
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1
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143
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86
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32
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12
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8
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5
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4
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3
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1
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1
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--INSTRUMENTS--
ACCORDEON
ALTO
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Partitions à imprimer
12 partitions trouvées
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1
Carson Cooman: Shining Space: Quintet for Horn and Strings (2006)
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: Shining Space:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533698 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik Music Publishing...
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Chamber Orchestra - Level 5 - SKU: A0.533698 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik Music Publishing #3038887. Published by Musik Fabrik Music Publishing (A0.533698). Shining Space: Quintet for Horn and Strings (2006) was commissioned by and is dedicatedto Hazel Dean Davis and Stephen Hackbarth on the occasion of their marriage, June 24, 2006.The work was premiered by James Sommerville, horn with Sarah Kapustin and FrancescaAnderegg, violins, Nathan Burke, viola, and Peter Lorenzo Anderegg, cello.The basic musical material for the work is a set of intervals which is gradually “expandedoutward†– moving from close dissonance to luminous consonance. This could be seen torepresent a sense of freedom, growth, and a bright future.The first movement, Bright Morning Sky, begins vibrantly with ecstatic ringing in the higherstrings. The cello presents the work’s basic pitch material in dramatic gestures. The hornthen enters: first abortively and then affirmatively – changing the texture to focus on itself.The horn continues lyrical melodic development while the strings react, dissipating theirinitial energy. Nervous tremolos in the strings start to build back energy again, leading to awild climax. The music then relaxes into the next section marked “Slow, suspended.†Thehorn and strings interact melodically, supported by luminous harmonies. The nervoustremolos return, regaining energy towards the coda. The work ends with the ecstatic ringingof the opening – but,this time, the harmonic material is open and bright.The second movement, I Am the Vine, is serene and expressive – consisting of a series ofcanons which develop, break-off, and start again. The canons are almost always in twovoices – representing two lives intertwining.The third movement, Chasing Windflower, returns to the energy of the opening movement.However, the harmonic language begins this time with the open sonorities. Darker colors(from the first movement) continue to interject, but are always overwhelmed by a sense offree-wheeling excitement. The work presses on to an ecstatic coda – with a sense ofunfettered joy.
$38.95
Carson Cooman: Quintet for Bassoon and Strings (2005–08) for bassoon and string quartet
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: Quintet for Bas
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533574 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing...
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Chamber Orchestra - Level 5 - SKU: A0.533574 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3024985. Published by Musik Fabrik Music Publishing (A0.533574). Quintet for Bassoon and Strings (2005–08) was commissioned by The Commission Projectand is dedicated to Klaus Heymann, in tribute for his invigoration of the classical recordingindustry and his enthusiastic support for the composers of our time.The original conception for the work was devised during an extremely foggy week onNantucket Island, Massachusetts in the summer of 2005. It is music deeply connected to theocean landscape. Throughout the work, the strings often present a fog-like backdrop,through which the bassoon’s color emerges like a lighthouse beacon—lyrical and flexible.The work opens with a series of interlocking, nebulous figurations in the strings thatgradually build in intensity. The bassoon unfolds the work’s basic melodic material in a freesolo that also increases in intensity. At the point of climax, the tempo suddenly slowsdramatically, and a tender, lyrical cantilena emerges. As this music dissolves, a bouncy andenergetic music takes the foreground. It climaxes in a bassoon cadenza. Though the bassoonhas played the leader throughout, this is the first time it is heard unaccompanied. A brief,but vigorous afterglow recalls the opening of the work. The final section emerges out of it: aseries of high, distant harmonics (perhaps harbor buoys) in the strings through which thebassoon sings a final song.
$25.95
The Fallen – Flute Concerto (string parts – flute and string orchestra)
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Orchestre de chambre
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AVANCÉ
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transforming the tragic and da
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Mark O'Connor
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The Fallen – Flute Conce
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Mark O'Connor Musik International
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.861936 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 70 pages. Mark O'Connor Musik I...
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Chamber Orchestra - Level 5 - SKU: A0.861936 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 70 pages. Mark O'Connor Musik International #6208141. Published by Mark O'Connor Musik International (A0.861936). The Fallen – Flute Concerto (string parts – flute and string orchestra) MO163C-GString Parts in Three Movements (score and flute solo part available)Music by Mark O’Connor50 pages - 18:00 minutes in length The Fallen for flute solo and strings composed by Mark O’Connor in three movements was commissioned by two different flutists for their respective music festivals in the summer of 2003; Marya Martin for the 20th anniversary of her Bridghampton Festival in New York, and Beth Ross-Buckley at her Camarada Festival in San Diego. The compositional process for the piece began for O’Connor in 2003, the very day the war was launched in Iraq. The piece was finished about three weeks later around the time the statues of the Iraqi dictator fell in Baghdad. This music is a reflection of the people who lost their lives in the war. This particular impact on his music makes for quite a different result from O’Connor’s usual optimism. However he finds a way to weave in a sense of a better future in the third movement. By transforming the tragic and darker qualities of the first movement’s themes, and making a departure from the quirky feet on the ground playfulness of the second movement, here O’Connor yearns and urges for a more beautiful world. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCommissioned by Bridgehampton Chamber Music Associates, New York and Camarada – San DiegoCan be heard on Beauty In America MSR ClassicsCarla Auld – flute, Eric Jacobsen - conductor Catalogue Number MO163C-GCopyright © 2003 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$30.00
The Fallen – Flute Concerto (score – flute and string orchestra)
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Orchestre de chambre
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AVANCÉ
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transforming the tragic and da
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Mark O'Connor
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The Fallen – Flute Conce
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Mark O'Connor Musik International
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.861934 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 48 pages. Mark O'Connor Musik I...
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Chamber Orchestra - Level 5 - SKU: A0.861934 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 48 pages. Mark O'Connor Musik International #6208131. Published by Mark O'Connor Musik International (A0.861934). The Fallen – Flute Concerto (score – flute and string orchestra) MO163AScore in Three Movements (parts available)Music by Mark O’Connor44 pages - 18:00 minutes in length The Fallen for flute solo and strings composed by Mark O’Connor in three movements was commissioned by two different flutists for their respective music festivals in the summer of 2003; Marya Martin for the 20th anniversary of her Bridghampton Festival in New York, and Beth Ross-Buckley at her Camarada Festival in San Diego. The compositional process for the piece began for O’Connor in 2003, the very day the war was launched in Iraq. The piece was finished about three weeks later around the time the statues of the Iraqi dictator fell in Baghdad. This music is a reflection of the people who lost their lives in the war. This particular impact on his music makes for quite a different result from O’Connor’s usual optimism. However he finds a way to weave in a sense of a better future in the third movement. By transforming the tragic and darker qualities of the first movement’s themes, and making a departure from the quirky feet on the ground playfulness of the second movement, here O’Connor yearns and urges for a more beautiful world. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCommissioned by Bridgehampton Chamber Music Associates, New York and Camarada – San DiegoCan be heard on Beauty In America MSR ClassicsCarla Auld – flute, Eric Jacobsen - conductor Catalogue Number MO163ACopyright © 2003 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$30.00
The Fallen – Flute Concerto (flute part – flute and string orchestra)
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Orchestre de chambre
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AVANCÉ
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transforming the tragic and da
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Mark O'Connor
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The Fallen – Flute Conce
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Mark O'Connor Musik International
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.861935 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 18 pages. Mark O'Connor Musik I...
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Chamber Orchestra - Level 5 - SKU: A0.861935 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 18 pages. Mark O'Connor Musik International #6208137. Published by Mark O'Connor Musik International (A0.861935). The Fallen – Flute Concerto (flute part – flute and string orchestra) MO163BFlute Part - Three Movements (score and parts available)Music by Mark O’Connor14 pages - 18:00 minutes in length The Fallen for flute solo and strings composed by Mark O’Connor in three movements was commissioned by two different flutists for their respective music festivals in the summer of 2003; Marya Martin for the 20th anniversary of her Bridghampton Festival in New York, and Beth Ross-Buckley at her Camarada Festival in San Diego. The compositional process for the piece began for O’Connor in 2003, the very day the war was launched in Iraq. The piece was finished about three weeks later around the time the statues of the Iraqi dictator fell in Baghdad. This music is a reflection of the people who lost their lives in the war. This particular impact on his music makes for quite a different result from O’Connor’s usual optimism. However he finds a way to weave in a sense of a better future in the third movement. By transforming the tragic and darker qualities of the first movement’s themes, and making a departure from the quirky feet on the ground playfulness of the second movement, here O’Connor yearns and urges for a more beautiful world. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCommissioned by Bridgehampton Chamber Music Associates, New York and Camarada – San DiegoCan be heard on Beauty In America MSR ClassicsCarla Auld – flute, Eric Jacobsen - conductor Catalogue Number MO163BCopyright © 2003 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$15.00
Aveux Non Avenus (2020) for soprano and string quartet
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Aveux Non Avenus
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869642 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. Score and parts. 66 pages. Thomas O...
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Chamber Orchestra - Level 4 - SKU: A0.869642 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. Score and parts. 66 pages. Thomas Oboe Lee #5302511. Published by Thomas Oboe Lee (A0.869642). I saw an obituary in the New York Times entitled Overlooked No More: Claude Cahun, Whose Photographs Explored Gender and Sexuality. I was so fascinated by the article that I went and purchased a book of her poems and writings. Within it I found a series of poems under the subtile of Délectations Moroses that were truly fantastic. A year ago I wrote a work for soprano and string quartet titled Gaspard de la Nuit on a set of poems by Aloysius Bertrand. Ravel's Gaspard de la Nuit is for solo piano, a set of tone poems inspired by the poems of the same A. Bertrand. I enjoyed my Gaspard so much that I wanted to write another work for soprano and string quartet, this time using these fascinating poems by Claude Cahun.The work is in seven movements.1. Allegro (de l'oubli)2. Largo (de l'oubli)3. Allegro con moto (d'un enfant difficile)4. Moderato (de l'amour)5. Moderato (de l'art)6. Allegro (Vocation)7. Adagio (Quatrième dimension)Enjoy!!!Duration: 27 minuteshttps://thomasoboelee.bandcamp.com/album/aveux-non-avenus-2020-for-soprano-and-string-quartet
$9.99
One Second to the Future - Guitar Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Brent C Robitaille
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One Second to the Future - Gui
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Brent C Robitaille
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Robitaille #994677...
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Chamber Orchestra - Level 4 - SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Robitaille #994677. Published by Brent C Robitaille (A0.1412646). One Second to the Future (Guitar Orchestra) Composer: Brent Robitaille  • “One Second to the Future†is a two-movement piece for either a single or optional double guitar orchestra with four separate parts for electric guitar and classical guitar. Two optional steel string guitar and electric bass parts are available but may be substituted if these instruments are unavailable. The total score will be around 500 measures with a running time of approximately 12-15 minutes. The piece is quite approachable for intermediate-level guitarists, with the more challenging sections arranged for the 1st and 2nd parts of the electric and classical guitar. Three overhead mics from the stage will be used to spatialize the sound into a stereo or surround sound system.  • The first movement starts with a fixed audio shortwave recording from the Canadian time signal shortwave station CHU, gently fading in for approximately 20 seconds before the guitar orchestra begins with natural and artificial harmonics.  • The second fixed audio track gently enters around the 1:00-minute mark. This track was recorded using eight amplified and non-amplified guitars in altered tunings with eight separate microphones to integrate into stereo or surround sound. The guitar's open strings were left to vibrate sympathetically as the volume increased and struck on the headstock with various rubber and metal sticks, violin bows or paint brushes to get the strings vibrating. The resulting wave files were then imported into a sampling program and filtered into the overtone series with “C†as the fundamental, emphasising the first 14 partials. This recording will be used intermittently throughout the first movement, acting primarily as a background pad.   • At approximately 3:00 minutes into the first movement, the players are asked to use a glass or metal slide to tap out rhythms based on the international Morse code. Several other standard slide guitar techniques are also integrated into this section. See instructions in the score. The first movement ends with both fixed audio tracks fading away.  • The second movement integrates a more traditional guitar playing and composition approach. Its bulk is at a robust tempo of 160 bpm and uses several rhythmic and timbral techniques, including sul tasto, sul ponticello, harmonics, golpe, string snaps, and the further use of guitar slides.  • Midway through the second movement, a rallentando proceeds to a section indicated by the tempo mark “slow motion.†At this point, a third fixed audio recording of a single vibrating guitar string slowed down by 3000% will fade in. The orchestra is instructed to play with this recording in slow motion or approximately 30 bpm. See score for details. The orchestra eventually returns to the original tempo to finish the 2nd movement.  Technical Requirements • Three mono or stereo mics from the orchestra will be required and blended with the stereo or surround sound. • A standard guitar delay and distortion pedal for electric guitar parts one and two is required. • Glass and metal guitar slides are required.   To download the fixed audio tracks, go here: https://soundcloud.com/kalymi/sets/one-second-to-the-future-guitar-orchestra-fixed-audio-tracks For fixed audio track information and information, contact me at:info@brentrobitaille.com.
$75.00
Louis Mayeur: Grande Fantaisie de Concert sur Rigoletto (de Verdi) for alto saxophone and orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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1871, Mayeur was also named Sa
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Louis Adolphe Mayeur
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Louis Mayeur: Grande Fantaisie
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.534136 Composed by Louis Adolphe Mayeur. Opera,Romantic Period,Standards. Score and parts. 49 pages. Musik Fabrik ...
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Chamber Orchestra - Level 4 - SKU: A0.534136 Composed by Louis Adolphe Mayeur. Opera,Romantic Period,Standards. Score and parts. 49 pages. Musik Fabrik Music Publishing #3133403. Published by Musik Fabrik Music Publishing (A0.534136). Louis Adolphe Mayeur (1837 - 1894), was a Belgium clarinetist, saxophonist, composer and conductor who spent most of his musical career in France; Entering the French Military in 1855, he was a clarinetist in the Second Régiment of the Cuirassiers (Mounted Calvary) of the Garde Impériale. A student of Klosé at the Paris Conservatory, he received his First Prize in Clarinet in 1860. One of the inner circle of Adolphe Sax (along with fellow Belgiums Jules Demersseman and Jean-Baptiste Singelée, whose “Quartet for Saxophones“ was premièred with Mayeur playing and Demersseman conducting), Mayeur took up the saxophone and was quickly engaged as the saxophone soloist in the Opera House of Brussels, La Monnaie (the Mint). Sax commissioned a number of works from Mayeur for the saxophone, which were published by his company and used in his class at the Paris Conservatory.By 1871, Mayeur was also named Saxophone Solo with the Paris Opera, performing in opears and ballets by Halévy, Meyerbeer, Thomas, Saint-Saens, Massenet, Délibes and Paladlihe. It would appear that sometime during this period, his relations with Sax became difficult, culminating in his publications of works by Buffet-Crampon, one of Sax’s rival companies and one of the main protagonists in the series of lawsuits which led to Sax’s bankrupcy. Mayeur’s own declining health lead to his death in 1894.The Grande Fantaisie de Concert sur Rigoletto dates from 1877. The contrasting sections use motifs from arias and duets from Verdi’s opera. Florid cadenzas seperate the various sections, but those passages should be played in the manner of “bel canto†ornamentation, always lyrical and songlike. This is the score and solo part for the orchestral version. Versions are available from Musik Fabrik for piano for Symhony Orchestra (on rental : 2222/2000/Timp/hp/strings) and for Concert Band (for sale). The score plus solo part for each of the versions is available for sale, as well as the individual parts for the concert band version
$25.95
Les Indes Galantes - Prologue (Overture)
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Orchestre de chambre
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AVANCÉ
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Jean Phillipe Rameau
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Arte Nova Music Lab
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Les Indes Galantes - Prologue
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Arte Nova Music Lab
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.742472 Composed by Jean Phillipe Rameau. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score a...
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Chamber Orchestra - Level 5 - SKU: A0.742472 Composed by Jean Phillipe Rameau. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 15 pages. Arte Nova Music Lab #4600759. Published by Arte Nova Music Lab (A0.742472). Les Indes galantes (French: The Amorous Indies) Opéra-ballet with a prologue and two entrées. Choreography: Louis Dupré. Music: Jean-Philippe Rameau. Libretto: Louis Fuzelier. Sets: Giovanni-Niccolò Servandoni. First performance: 23 August 1735, Théâtre de l'Académie de Musique, Paris. Principals: David Dumoulin, Louis Dupré, M. le Breton, M. Javellier, Marie Sallé. The premiere, including only the prologue and the first two of its four entrées (acts), was staged by the Académie Royale de Musique at itstheatre in the Palais-Royal in Paris on 23 August 1735, starring the leading singers of the Opéra, Marie Antier, Marie Pélissier, Mlle Errémans, Mlle Petitpas, Denis-François Tribou, Pierre Jélyotte, and Claude-Louis-Dominique Chassé de Chinais, and the dancers Marie Sallé and Louis Dupré. Michel Blondy provided the choreography. The ballet's Premier Menuet was used in the soundtrack of the 2006 film Marie Antoinette. Prologue: The palace of Hebe in the background and her gardens in the wings Hebe, goddess of youth, summons her followers to take part in a festival (Air: Vous, qui d'Hébé suivez les lois). Young French, Spanish, Italians and Poles rush to celebrate with a series of dances, including a musette. The ballet is interrupted by the noise of drums and trumpets. It is Bellona, goddess of war, who arrives on the stage accompanied by warriors bearing flags. Bellona calls on the youths to seek out military glory (Air and chorus: La Gloire vous appelle). Hebe prays to Cupid (L'Amour) to use his power to hold them back. Cupid descends on a cloud with his followers. He decides to abandon Europe in favour of the Indies, where love is more welcome. Taken from https://en.wikipedia.org/wiki/Les_Indes_galantes
$20.00
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Orchestre de chambre
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AVANCÉ
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3...
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Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95
Shepherds, Run Along/Przybieżeli do Betlejem pasterze (Downloadable Choral Score)
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Orchestre de chambre
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INTERMÉDIAIRE
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Stephen Mager
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Shepherds, Run Along/PrzybieÅ
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
SSA choir and piano, with optional brass ensemble or chamber orchestra - Medium - SKU: MQ.50-1715-E Composed by Stephen Mager. University of Notre Dame ...
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SSA choir and piano, with optional brass ensemble or chamber orchestra - Medium - SKU: MQ.50-1715-E Composed by Stephen Mager. University of Notre Dame Children's Choir Series. Christmas, 21st Century. Instrument parts. 12 pages. MorningStar Music Publishers - Digital Sheet Music #50-1715-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-1715-E). UPC: 688670517150. English, Polish.A delightful treble setting of a familiar Christmas carol. The piece features a sparkling accompaniment and joyous choral parts. Fun to sing. Equally effective with brass, chamber orchestra, or with solo piano.Brass Ensemble Parts include: Horn in F, 3 Trumpets in C, 3 Trombones, Tuba, Percussion, and Harp.Chamber Orchestra Parts include: 2 Flutes, oboe, English Horn, Bassoon, 2 Horns in F, 2 Trumpets in C, Percussion, Harp, Strings.
$2.25
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