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AUTOHARPE
BANJO
BASSE
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BATTERIE
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CHORALE - CHAN…
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CLAIRON
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COR
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MARIMBA
OCARINA
ORCHESTRE
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We As Love Traditional
Non classifié
52
Piano & claviers
Piano seul
19
Piano Facile
19
Piano, Voix
13
Orgue
6
Instruments en Do
6
Piano, Voix et Guitare
4
Piano Trio: piano, violon, violoncelle
2
1 Piano, 4 mains
2
Accompagnement Piano
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 5 instrumentations
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Guitares
Guitare notes et tablatures
10
Mandoline
2
Piano, Guitare (duo)
1
Ligne De Mélodie, (Paroles) et Accords
1
Guitare
1
2 Guitares (duo)
1
Basse electrique
1
+ 2 instrumentations
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Voix
Chorale SATB
29
Chorale 3 parties
7
Voix duo, Piano
3
Chorale 2 parties
3
Chorale Unison
2
Chorale TTBB
2
Voix Tenor, Piano
1
Voix moyenne, Piano
1
Chorale SSAA
1
+ 4 instrumentations
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Vents
2 Saxophones (duo)
30
Saxophone, Clarinette (duo)
17
2 Clarinettes (duo)
13
2 Flûtes traversières (duo)
11
Clarinette, Violon (duo)
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
11
Flûte, Hautbois, Clarinette, Basson
10
Clarinette, Trompette (duo)
9
3 Saxophones (trio)
8
Quatuor de Saxophones: 4 saxophones
8
Flûte traversière
6
Clarinette et Alto
6
Saxophone Alto
6
Hautbois, Piano (duo)
6
Clarinette
6
Flûte, Clarinette (duo)
6
Flûte, Violon
6
Hautbois, Clarinette (duo)
6
2 Hautbois (duo)
6
Quintette de Saxophone: 5 saxophones
6
Hautbois, Flûte
5
Hautbois (partie séparée)
5
Flûte traversière et Piano
5
Flûte, Alto (duo)
5
Flûte, Saxophone (duo)
5
Hautbois, Basson (duo)
5
Flûte, Trompette (duo)
4
Hautbois, Clarinette, Basson (trio d'anches)
4
Flûte, Hautbois, Clarinette (trio)
4
Flûte, Violoncelle
3
Clarinette et Piano
3
Ensemble de Flûtes
3
Clarinette, Violoncelle (duo)
2
Flûte, Alto et Piano
2
Saxophone Tenor et Piano
2
Saxophone Alto et Piano
2
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2
Saxophone Soprano et Piano
2
Clarinette, Basson (duo)
1
Saxophone Tenor
1
2 Clarinettes, Piano
1
2 Flûtes traversières, Piano
1
Flûte, Violoncelle, Piano (trio)
1
Clarinette, Violoncelle, Piano (trio)
1
+ 39 instrumentations
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
13
Trompette, Saxophone (duo)
12
Trompette, Trombone (duo)
6
2 Trombones (duo)
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
2 Trompettes (duo)
6
Trombone
5
Trombone et Piano
5
Trio de Cuivres
4
Tuba
4
Quatuor de Cuivres
3
Trompette, Piano
3
Quatuor de cuivres: 4 trombones
2
Cor et Piano
2
2 Cors (duo)
1
Trompette
1
Trompette, Cor (duo)
1
Trompette, Violoncelle et Piano
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Cor
1
2 Tubas (duo)
1
+ 16 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
19
Quintette à cordes: 2 violons, alto, violoncelle, basse
9
Violon et Piano
7
2 Violoncelles (duo)
7
2 Violons (duo)
6
Violoncelle
6
Violon, Alto (duo)
6
Violon
5
Trio à Cordes: violon, alto, violoncelle
5
Violon, Violoncelle (duo)
5
Alto seul
4
Alto, Piano
4
2 Altos (duo)
4
Violoncelle, Piano
3
Harpe
3
Alto (partie séparée)
2
Piano Trio: Violon, Alto, Piano
2
Violon, Basson (duo)
1
Alto, Violoncelle (duo)
1
Violon, Clarinette, Piano (trio)
1
+ 15 instrumentations
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Ensemble de cuivres
6
Orchestre à Cordes
5
Orchestre
4
Orchestre d'harmonie
4
Cloches
3
Ensemble de Percussions
2
Orchestre de chambre
2
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1
Marimba
1
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Vous avez sélectionné:
We As Love Traditional
Orchestre de chambre
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Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)
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Orchestre de chambre
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Ofer Ben-Amots
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Songs from the Pomegranate Gar
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The Composer's Own Press
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SheetMusicPlus
Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681....
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Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas – Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composer’s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: חידוש – פירוש – שימור – חיפוש). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judéo-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato ‘sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato ‘sta el hijo del rey (The King’s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha B’Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation. Duration: ca. 24 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00
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
#
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
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