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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
Soul Man
Non classifié
1 025
Piano & claviers
Piano seul
412
Piano, Voix et Guitare
352
Piano, Voix
145
Piano Facile
124
Orgue
104
Instruments en Do
44
Accompagnement Piano
13
Accordéon
12
Piano Trio: piano, violon, violoncelle
7
Piano Quatuor: piano, violon, alto, violoncelle
6
1 Piano, 4 mains
6
Piano grosses notes
6
2 Pianos, 4 mains
4
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano (partie séparée)
2
2 Accordéons
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Clavier
1
Orgue, Trompette (duo)
1
+ 14 instrumentations
Retracter
Guitares
Guitare notes et tablatures
121
Ligne De Mélodie, (Paroles) et Accords
74
Basse electrique
65
Guitare
44
Paroles et Accords
38
Ukulele
23
Mandoline
19
Guitare (partie séparée)
6
2 Guitares (duo)
4
Dulcimer
2
2 Mandolines (duo)
2
Banjo
1
Mandoline, Guitare (duo)
1
+ 8 instrumentations
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Voix
Chorale SATB
246
Chorale 2 parties
116
Chorale 3 parties
88
Chorale TTBB
37
Voix duo, Piano
35
Chorale SSAA
26
Chorale Unison
21
Voix duo
20
Pack Instrumental pour Chorale
17
Voix Soprano, Piano
8
Voix seule
8
Voix Tenor, Piano
7
Chorale
6
Voix Baryton, Piano
5
Voix haute
4
Voix Alto, Piano
4
Voix Mezzo-Soprano, Piano
3
Voix moyenne, Piano
2
Chorale SSAB, Piano
1
Voix basse, Piano
1
+ 15 instrumentations
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Vents
Quatuor de Saxophones: 4 saxophones
99
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
91
Flûte, Hautbois, Clarinette, Basson
86
Quintette de Saxophone: 5 saxophones
78
Saxophone (partie séparée)
75
2 Saxophones (duo)
61
Flûte traversière
60
Clarinette
53
Saxophone Alto
51
Saxophone Tenor
47
Clarinette et Piano
41
Saxophone Alto et Piano
39
Flûte traversière et Piano
37
Hautbois, Piano (duo)
35
2 Flûtes traversières (duo)
31
Saxophone Tenor et Piano
30
Hautbois (partie séparée)
28
Saxophone, Clarinette (duo)
27
Saxophone Soprano et Piano
21
2 Clarinettes (duo)
20
Clarinette, Violon (duo)
18
Quatuor de Clarinettes: 4 clarinettes
18
Saxophone
16
Saxophone Baryton, Piano
16
2 Hautbois (duo)
14
Flûte, Clarinette (duo)
12
Flûte, Saxophone (duo)
10
Hautbois, Clarinette (duo)
10
Clarinette et Alto
9
Flute (partie séparée)
9
Clarinette (partie séparée)
9
Hautbois, Basson (duo)
9
Clarinette, Trompette (duo)
8
Flûte, Clarinette, Cor, Basson (Quartet)
8
Hautbois, Flûte
8
Flûte, Violon
7
Quatuor de Flûtes : 4 flûtes
7
Flûte, Trompette (duo)
6
Trio de Flûtes: 3 flûtes
6
Ensemble de Clarinettes
5
Saxophone Soprano
5
Clarinette Basse, Piano
4
Quintette de Clarinettes: 5 clarinettes
4
3 Clarinettes (trio)
4
Hautbois
4
Saxophone Baryton
4
Flûte, Clarinette et Basson
4
Cor anglais, Piano
4
Flûte, Alto (duo)
3
Ensemble de saxophones
3
Ensemble de Flûtes
3
Quatuor de Flûtes à bec
3
3 Saxophones (trio)
3
Instruments en Mib
2
Flûte, Violon, Piano
2
Flûte, Hautbois, Basson
2
Clarinette, Trombone (duo)
1
Flûte à bec Soprano, Piano
1
Flûte, Clarinette, Piano (trio)
1
Quintette de Flûte : 5 flûtes
1
Clarinette, Violoncelle (duo)
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte à bec Alto
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte, Violon, Violoncelle et Piano
1
Flûte et Guitare
1
Flûte, Basson et Piano
1
Flûte traversière, Orgue (duo)
1
2 Cors Anglais Et Pianoforte
1
+ 64 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
89
Quatuor de Cuivres
76
Trompette
53
Trombone (partie séparée)
43
Trompette (partie séparée)
43
Trombone
41
Trombone et Piano
34
Trompette, Piano
29
Cor
28
Cor et Piano
22
Quatuor de Cuivres : 2 trompettes, trombone, tuba
21
Trompette, Saxophone (duo)
21
Tuba
17
2 Trompettes (duo)
15
Tuba et Piano
13
2 Trombones (duo)
12
Trompette, Trombone (duo)
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
2 Cors (duo)
6
Cor (partie séparée)
5
Euphonium, Piano (duo)
5
Tuba et Orgue
4
Cor anglais, Piano
4
Quatuor de cuivres: 4 trombones
3
Instruments en Sib
2
Bass Clef Instruments
2
3 Trombones (trio)
2
2 Tubas (duo)
2
Ensemble de Trombones
2
Quatuor de cuivres: 4 cors
2
Trompette, Cor (duo)
2
Tuba (partie séparée)
2
Trio de Cuivres
1
3 Trompettes (trio)
1
Trombone basse et Piano
1
Ensemble de Cors
1
2 Cors Anglais Et Pianoforte
1
+ 32 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
192
Quintette à cordes: 2 violons, alto, violoncelle, basse
82
Violon et Piano
61
Violon
60
Violoncelle
56
Violoncelle, Piano
51
Violon, Violoncelle (duo)
40
Alto, Piano
39
Alto seul
39
2 Violons (duo)
25
Harpe
21
2 Violoncelles (duo)
15
Trio à Cordes: 2 violons, violoncelle
15
2 Altos (duo)
14
Violon, Alto (duo)
13
Trio à Cordes: violon, alto, violoncelle
12
Alto (partie séparée)
9
Contre Basse
8
Contrebasse, Piano (duo)
7
Contrebasse (partie séparée)
5
Violon (partie séparée)
4
Harpe, Voix
4
Quatuor à cordes: 4 violons
3
Trio à Cordes: 2 violons, alto
3
Quintette à cordes : 2 violons, alto et 2 violoncelles
3
Trio à Cordes: 3 violoncelles
3
Violon, Guitare (duo)
3
Trio à cordes: 3 violins
3
Trio à cordes: 3 altos
2
2 Contrebasses (duo)
2
Violoncelle (partie séparée)
2
Piano Trio: Violon, Alto, Piano
1
2 Violons, Piano
1
Alto et Harpe
1
Autoharp
1
4 Violoncelles
1
Quatuor à cordes : 4 altos
1
Violoncelle, Orgue
1
Alto, Violoncelle (duo)
1
+ 34 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
70
Ensemble Jazz
62
Fanfare
53
Orchestre
33
Batterie
32
Orchestre à Cordes
24
Ensemble de cuivres
21
Jazz combo
10
Cloches
10
Batterie (partie séparée)
7
Orchestre de chambre
6
Percussion (partie séparée)
3
Timbales (partie séparée)
1
Ensemble de Percussions
1
+ 9 instrumentations
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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
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MANDOLINE
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PIANO
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TROMBONE
TROMPETTE
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Crtitères actifs :
Soul Man
Orchestre de chambre
Partitions à imprimer
6 partitions trouvées
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1
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
Bunny Rabbits for Chamber Orchestra - Score only in Tabloid format
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Orchestre de chambre
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INTERMÉDIAIRE
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David Warin Solomons
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Bunny Rabbits for Chamber Orch
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.578875 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons...
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Chamber Orchestra - Level 3 - SKU: A0.578875 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #1791985. Published by David Warin Solomons (A0.578875). This letter to my grandmother is a recollection of her final years in the 1970s. She suffered from Parkinsons and became very frustrated with the fact that her body simply didn't follow the commands of her brain. But she was always a very polite, gentle and yet determined person - others in this situation might have used swear words, but, when she found herself immobilised, my gran would simply shout Bunny Rabbits!. This would make us laugh and she would laugh along with us. The frustration is represented in the music by the Delians melodic fragment DEFGEDE (in the D Dorian mode) interrupted by the timpani, and eventually other instruments, repeating the frustrated bunny rabbits theme. Finally - following her Christian beliefs, her soul goes up to an afterlife in which she is released from the frustration and the bunny rabbits, who have a final grumble on brass and timpani and give way to an ethereal minor chord with a major sixth, as suggested by the Dorian mode. The sound sample here is an electronic preview. The piece was premiered on 30 January 2016 by the Octava Chamber Orchestra along with various other short movements composed by other members of the Delian Society as part of Delian Suite No 8.
$5.00
When I Survey the Wondrous Cross - Orchestration
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Orchestre de chambre
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INTERMÉDIAIRE
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Isaac Watts / Lowell Mason
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Robert Myers
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When I Survey the Wondrous Cro
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WheatMyer Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and ...
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Chamber Orchestra - Level 3 - SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and parts. 49 pages. WheatMyer Music #4775721. Published by WheatMyer Music (A0.976713). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Mason’s 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses' anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly – they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Mason’s harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The instrumental accompaniments are straightforward yet very colorful, suitable for high school or higher level players. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet it does not compromise on artistic expression.This is the orchestral accompaniment for the choral octavo version sold separately. This version includes full score and all instrumental parts.
$60.00
Playing Love
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Ennio Morricone
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Flavio Regis Cunha
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Playing Love
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1431197 Composed by Ennio Morricone. Arranged by Flavio Regis Cunha. Contemporary,Contest,Festival,Film/TV,Instruc...
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Chamber Orchestra - Level 4 - SKU: A0.1431197 Composed by Ennio Morricone. Arranged by Flavio Regis Cunha. Contemporary,Contest,Festival,Film/TV,Instructional,Wedding. 13 pages. Flavio Regis Cunha #1011659. Published by Flavio Regis Cunha (A0.1431197). Ennio Morricone: Playing Love English Horn Solo Version, Piano, and String Orchestra - Full Score and Parts Sheet MusicEnnio Morricone's Playing Love for English Horn Solo Version, Piano, and Orchestra, from the Giuseppe Tornatore Suite: Playing Love featured in The Legend of 1900, as performed by Yo-Yo Ma and Roma Sinfonietta Orchestra.For orchestras seeking to enrich their repertoire with a distinctive touch, Playing Love from the Giuseppe Tornatore Suite is a prime choice. Crafted by the virtuoso composer Ennio Morricone, this masterpiece is certain to captivate audiences. With its arrangement for English Horn Solo, Piano, and Orchestra, this exceptional composition provides everything necessary for an outstanding performance. Experience its enchanting beauty through Yo-Yo Ma's rendition or the majestic interpretation by the Roma Sinfonietta Orchestra. Stand out from the crowd and acquire this essential piece today!Level: Advanced IntermediateFormat: Concert, 9 x 12 inchesSize: 13 PagesScore and Orchestral PartsDuration: 2:00Instrumentation: English Horn Solo Version, Piano, and String OrchestraProgram NotesWelcome to the rendition of Ennio Morricone's exquisite suite, Playing Love, from The Legend of 1900. This composition is a fusion of classical and cinematic music, touching hearts and soothing souls. Its multiple layers evoke a range of emotions through intimate and powerful instrumentation. Soloists command attention as Violoncello and Piano entwine in a duet of love and tragedy, while the Orchestra carries the melody, grounding it in symphonic richness. Experience the emotive power of Playing Love as Morricone's captivating melodies breathe life into the tale of The Legend of 1900. Don't miss this unforgettable performance![Listen on Spotify](https://open.spotify.com/track/393qU26zNVIQNzdBxWQPek?si=5ff4b5fe5b084316).
$49.99
På väg ("On my way"), for violin and chamber orchestra
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Orchestre de chambre
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AVANCÉ
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Stefano Olcese
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På väg
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Stefano Olcese
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.934332 Composed by Stefano Olcese. 20th Century,Contemporary,Film/TV,Romantic Period. Score and parts. 8 pages. St...
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Chamber Orchestra - Level 5 - SKU: A0.934332 Composed by Stefano Olcese. 20th Century,Contemporary,Film/TV,Romantic Period. Score and parts. 8 pages. Stefano Olcese #5887933. Published by Stefano Olcese (A0.934332). På väg means , in Swedish, more or less on my way. I have been living in Sweden since 2014, so to me it felt natural to use a Swedish title :)This composition wants to express a journey feeling, through landscapes and through our inner soul. It is approximately 5 minutes long and is the 2nd movement of a suite for violin and orchestra called Ales Stenar, which is structured in 5 movements. The orchestration requires, as a minimum, the following instruments: 1 solo violin, 1 first violin, 1 second violin, 1 viola, 1 cello, 1 double bass, 1 oboe, 1 clarinet in B-flat, 1 bassoon. Upon request I can arrange the score for a bigger ensemble.The solo violin player should be a skilled one - though difficulties are not extreme - and someone who is able to deliver emotions. Among the orchestra players it would be wise to have a skilled bassoonist. I have been told by many that this is concert music, ballet music, film music.Some more practical infos:- I belong to the Swedish Performing Right Organization called STIM- My Instagram: https://www.instagram.com/stefano_olcese/- My website link is: http://www.stefano-olcese.com/- My Linkedin profile: https://www.linkedin.com/in/stefano-olcese-140a1810/
$9.99
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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