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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
Who is Like You?
Non classifié
338
Piano & claviers
Piano, Voix et Guitare
366
Piano seul
207
Piano Facile
134
Piano, Voix
128
Instruments en Do
49
Orgue
7
1 Piano, 4 mains
6
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Piano (partie séparée)
2
Accompagnement Piano
2
Orgue, Piano (duo)
1
2 Pianos, 8 mains
1
Piano Trio: piano, violon, violoncelle
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 9 instrumentations
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Guitares
Guitare notes et tablatures
15
Ligne De Mélodie, (Paroles) et Accords
10
Guitare
6
Basse electrique
5
Guitare (partie séparée)
4
Ukulele
3
Banjo
2
3 Guitares (trio)
1
Paroles et Accords
1
Mandoline
1
+ 5 instrumentations
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Voix
Chorale SATB
75
Chorale 3 parties
18
Chorale 2 parties
13
Chorale TTBB
13
Chorale SSAA
6
Chorale Unison
4
Voix duo, Piano
4
Voix Soprano, Piano
3
Voix Tenor
2
Voix Alto, Piano
2
Voix Baryton, Piano
2
Soli, choeur mixte et accompagnement
1
Voix duo
1
Chorale SSATTB
1
+ 9 instrumentations
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Vents
2 Saxophones (duo)
59
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
28
Quatuor de Saxophones: 4 saxophones
25
2 Flûtes traversières (duo)
21
Flûte, Hautbois, Clarinette, Basson
20
2 Clarinettes (duo)
17
Quintette de Saxophone: 5 saxophones
14
Hautbois, Piano (duo)
14
2 Hautbois (duo)
13
Clarinette et Piano
13
Saxophone (partie séparée)
12
Saxophone, Clarinette (duo)
11
Clarinette
11
Quatuor de Clarinettes: 4 clarinettes
11
Flûte traversière
9
Hautbois (partie séparée)
9
Cor anglais, Piano
8
Saxophone Alto et Piano
8
Clarinette, Violon (duo)
8
Flûte traversière et Piano
8
Clarinette, Trompette (duo)
7
Ensemble de Flûtes
7
Saxophone Soprano et Piano
7
Ensemble de Clarinettes
6
Quatuor de Flûtes à bec
6
Saxophone Tenor et Piano
6
Flûte, Clarinette (duo)
6
Ensemble de saxophones
5
5 Flûtes à bec
5
Saxophone Alto
4
Flûte, Trompette (duo)
4
Quatuor de Flûtes : 4 flûtes
4
Clarinette et Alto
4
Flûte, Alto (duo)
4
Hautbois, Clarinette (duo)
4
Flûte à bec Soprano, Piano
4
Saxophone Baryton, Piano
4
Clarinette Basse, Piano
3
Flute (partie séparée)
3
3 Clarinettes (trio)
3
Quintette de Flûte : 5 flûtes
3
Hautbois, Basson (duo)
3
Flûte à Bec
2
Hautbois, Flûte
2
Flûte, Saxophone (duo)
2
Flûte, Violon
2
Flûte à bec Soprano
2
Cor Anglais
2
Saxophone Tenor
2
Flûte à bec Alto, Piano
1
Clarinette, Violoncelle (duo)
1
3 Saxophones (trio)
1
Flûte, Basson et Piano
1
Saxophone
1
Flûte irlandaise
1
Piccolo
1
2 Cors Anglais Et Pianoforte
1
Clarinette, Trombone (duo)
1
+ 53 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
24
Quatuor de Cuivres : 2 trompettes, trombone, tuba
14
2 Trombones (duo)
14
Trompette
13
2 Trompettes (duo)
13
2 Cors (duo)
11
Trombone (partie séparée)
11
Cor
9
Tuba et Piano
9
Cor anglais, Piano
8
Trombone et Piano
8
Tuba
8
Trompette, Piano
7
Trompette (partie séparée)
7
Trombone
6
2 Tubas (duo)
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Cor et Piano
5
Euphonium, Piano (duo)
5
Trompette, Trombone (duo)
5
Trompette, Saxophone (duo)
4
Ensemble de Trombones
3
Tuba (partie séparée)
2
Quatuor de Cuivres
2
Quatuor de cuivres: 4 trombones
2
Cor Anglais
2
Cor (partie séparée)
1
Cor et Basson (duo)
1
Trombone basse et Piano
1
2 Cors Anglais Et Pianoforte
1
2 Euphoniums (duo)
1
3 Trombones (trio)
1
+ 27 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
57
Violon
33
Violon et Piano
21
Violoncelle
18
2 Violons (duo)
16
Alto seul
15
2 Violoncelles (duo)
15
2 Altos (duo)
14
Alto, Piano
13
Violon, Violoncelle (duo)
13
Violoncelle, Piano
12
Harpe
11
Trio à Cordes: violon, alto, violoncelle
5
Violon, Alto (duo)
4
2 Contrebasses (duo)
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
4 Violoncelles
2
Contrebasse (partie séparée)
2
Harpe, Voix
2
Trio à Cordes: 2 violons, violoncelle
2
Quatuor à cordes: 4 violons
2
Violoncelle , Guitare (duo)
1
Contre Basse
1
Alto, Violoncelle (duo)
1
Ensemble de Violons
1
Quatuor à cordes : 4 altos
1
Alto (partie séparée)
1
Trio à Cordes: 3 violoncelles
1
Violoncelle, Contrebasse (duo)
1
Contrebasse, Piano (duo)
1
Ensemble d'Altos
1
+ 26 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
48
Ensemble Jazz
20
Orchestre
19
Ensemble de cuivres
14
Orchestre à Cordes
11
Jazz combo
3
Percussion (partie séparée)
2
Orchestre de chambre
2
Cloches
2
Batterie (partie séparée)
2
Ensemble de Percussions
2
Orchestre, Violon
1
Fanfare
1
+ 8 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
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BASSON
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CHORALE - CHAN…
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Who is Like You?
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Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95
23.88 €
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Orchestre de chambre
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Carson Cooman
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Carson Cooman: The Acts of the Apostles
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Musik Fabrik Music Publishing
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SheetMusicPlus
Variations on a Rossini Theme op.Posth
Orchestre de chambre
Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik Franço…
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Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
27.6 €
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Orchestre de chambre
#
Frederik François Chopin
#
James Strauss
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Variations on a Rossini Theme op.Posth
#
James Strauss
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SheetMusicPlus
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